- Lisbon, Portugal
- Art History, Heritage Conservation, Restoration and Conservation of Ancient and Historic Buildings and Structures, History of European Overseas Expansion, Angolan History, History of Mozambique, and 12 moreCape Verde, Portuguese India, São Tomé and Príncipe, Macau studies, Art Market, Connoisseurship, Exhibitions, History of Exhibitions, History of Collections, History of Collecting, History of Art, and Collectors of greek and etruscan vasesedit
- Vera Mariz, PhD, is researcher at holds the position of researcher at ARTIS - Institute of Art History, School of Art... moreVera Mariz, PhD, is researcher at holds the position of researcher at ARTIS - Institute of Art History, School of Arts and Humanities, University of Lisbon, where she is engaged in a project titled "Mapping the Azulejo Market in Portugal: History, Networks, Circulation, and Patterns". This project is funded through the Scientific Employment Stimulus Competition, sponsored by the Foundation for Science and Technology. She also serves as a Consultant to the Calouste Gulbenkian Museum for research on the Collector and the history of the Collection. Previously, she conducted a postdoctoral project on the Art Market in Portugal from 1833 to 1945, supported by a scholarship awarded by the Foundation for Science and Technology. She has been actively involved in coordinating and participating in projects related to Art History, Collecting, Art Markets, and Digital Art History. Her scholarly contributions in these areas have been published in renowned scientific journals, including The Getty Research Journal (2023), MDCCC 1800 (2022), Ge-conservación (2021), and Journal of the History of Collections (2020), among others. In addition, she has authored works featured in national and international books, catalogs, dictionaries, and conference proceedings.edit
The present study focuses on the evolution of the safeguard of Portuguese overseas architectural heritage between 1930 and 1974, period marked by the Estado Novo’s strong colonial component, by the full understanding of monuments as... more
The present study focuses on the evolution of the safeguard of Portuguese overseas architectural heritage between 1930 and 1974, period marked by the Estado Novo’s strong colonial component, by the full understanding of monuments as testimonies of the Nation’s greatness and by its use as instruments of propaganda and legitimisers of an alleged right to discover, conquer, occupy and colonize. Bearing in mind these three aspects, we aim to understand the characteristics of this/these parallel reality/realities to the universe dominated by the portentous General-Directorate of National Buildings and Monuments. Thereby, geographically we move between Cape Verde, São Tomé and Príncipe, Guinea, Angola, Mozambique, Portuguese India, Macau and Timor, the territories of the socalled Portuguese Colonial Empire. After the year 1958 and the publication of the Decree nº41 787 the national monuments of these overseas provinces became under the aegis of the Ministry of Overseas. The General-Directorate of Public Works and Communications of this ministry would be, from that time, responsible for the inventory, classification and guidance of conservation and restoration works on those monuments. However, we are not facing a universe exclusively marked by the action of this institution, because in some of the overseas provinces, in addition to the departments of Public Works responsible for the execution of interventions on national monuments, there were specialized commissions. We refer to Portuguese India’s Permanent Commission of Archaeology, Angola’s Commission of Provincial Monuments/Commission of National Monuments and Mozambique’s Commission of National Monuments and Historical Relics, institutions created in 1895, 1922/1942 and 1943. Therefore, throughout this dissertation we identify, examine and compare perceptions and attitudes of public and private bodies, of individuals and groups, preservation and valorisation programmes, as well conservation and restoration practices or criteria. We aim to reveal the existence of a reality simultaneously marked by hints of continuity and pioneering efforts that allow us to gain more and better knowledge of the heritage practices and policies promoted within the established time limits.
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Tese de Mestrado em Arte, Património e Teoria do Restauro, Universidade de Lisboa, Faculdade de Letras, 2010
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O Inventário Artístico de Portugal, obra magna da Academia Nacional de Belas-Artes, resulta de uma necessidade há muito conhecida de se proceder à inventariação do património artístico nacional e de circunstâncias extremamente favoráveis:... more
O Inventário Artístico de Portugal, obra magna da Academia Nacional de Belas-Artes, resulta de uma necessidade há muito conhecida de se proceder à inventariação do património artístico nacional e de circunstâncias extremamente favoráveis: as comemorações de 1940. Os trabalhos das brigadas inventariantes começariam a ser projectados em 1938, percebendo-se desde então que a fotografia assumiria um papel preponderante. A colecção estudada é o resultado deste entendimento, interessando-nos explicar as suas origens, identificar características e explicá-la à luz do projecto que lhe deu origem. Para isso, depois de uma leitura de conjunto, focámo-nos no caso de Coimbra.
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This essay focuses on the collection of Greek ceramics gathered by Francisco Zea Bermúdez y Navarro during the second half of the nineteenth century in Lisbon. Building on the analysis of the auction catalogues held after the collector's... more
This essay focuses on the collection of Greek ceramics gathered by Francisco Zea Bermúdez y Navarro during the second half of the nineteenth century in Lisbon. Building on the analysis of the auction catalogues held after the collector's death, a holistic view of the collection of more than 50 vases is presented, considering the context of its formation and provenances. As a result, the horizons of knowledge of the effects of the excavations conducted at Vulci, Cerveteri and Tarquinia will be broadened, highlighting the links between the collections of Canino, Fesch, Campana, Zea Bermúdez and the sales that would later take place on the periphery of the antiquities market, in Portugal and Brazil.
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In less than fifty years, King Ferdinand II of Portugal formed an outstanding collection of works of art by old masters and modern Portuguese artists that attracted international attention. Nationally, his devotion to art won him the... more
In less than fifty years, King Ferdinand II of Portugal formed an outstanding collection of works of art by old masters and modern Portuguese artists that attracted international attention. Nationally, his devotion to art won him the people’s affection as well as an illustrative nickname: the “Artist King.” When, upon Ferdinand II’s death in 1885, it was discovered that his will did not bequeath a single artwork to the Portuguese nation but instead left them to his heirs and at auction, the country was shocked. This essay provides a holistic review of the dispersal of Ferdinand II’s painting collection, here reassembled in a dataset that draws upon an after-death inventory and auction sales records. By contextualizing the data with economic, social, and historical factors and exploring the behavior of the collection’s main buyers, it becomes clear that the 1893 public auction of Ferdinand II’s collection truly stirred the nineteenth-century Portuguese art market and led to the rise of new collections of Portuguese modern art
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This study reveals and discusses the role played by five painter-restorers – António Manuel da Fonseca, António Tomás da Fonseca, Carl Kathan, Gaetano Marmocchi, and Étienne Le Roy – at the service of King Ferdinand II... more
This study reveals and discusses the role played by five painter-restorers – António Manuel da Fonseca, António Tomás da Fonseca, Carl Kathan, Gaetano Marmocchi, and Étienne Le Roy – at the service of King Ferdinand II of Portugal, from 1850 to 1864. It draws on a dataset of more than one hundred and fifty restored paintings, used here as evidence of the painter-restorers’ activity and versatility in the private art market, as well as of the king’s commitment to managing, repairing and preserving his collection of paintings. Ultimately, by identifying the paintings that have been restored by order of the “Artist King” and relating them to the restorers, this research opens the door for direct analyses and a more precise characterization of the methods and techniques used by these painter-restorers in 19th century Europe.
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In 1865 John Charles Robinson travelled to Portugal in the service of the South Kensington Museum and plunged into the art market with the intention of acquiring works for that institution’s collections that were representative of... more
In 1865 John Charles Robinson travelled to Portugal in the service of the South Kensington Museum and plunged into the art market with the intention of acquiring works for that institution’s collections that were representative of Portuguese artistic production. This article provides a broad and contextualized approach to this connoisseur’s experience on the Portuguese market, framing it within a hitherto undervalued phenomenon: the persistent presence of English agents in this system. An original identification of all the works acquired in Portugal by Robinson and of all those so-far neglected dealers involved in such transactions allows us to assess the real extent and impact of such mission. We shall also show that the acquisitions made were decisive not only for diversifying the museum’s collections but also for art historiography, both being inseparable from the invention of the term Indo-Portuguese.
https://academic.oup.com/jhc/advance-article-abstract/doi/10.1093/jhc/fhy057/5243152?redirectedFrom=fulltext
https://academic.oup.com/jhc/advance-article-abstract/doi/10.1093/jhc/fhy057/5243152?redirectedFrom=fulltext
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The level of artistic excellence achieved by Vasco Fernandes during the European Renaissance is undisputable. Equally obvious was the variation observed between the nineteenth century and the present-day regarding the real corpus of his... more
The level of artistic excellence achieved by Vasco Fernandes during the European Renaissance is undisputable. Equally obvious was the variation observed between the nineteenth century and the present-day regarding the real corpus of his production, as we have witnessed a beneficial deconstruction of the Grão Vasco myth and the (re)definition of the reality of the man and his work.
In 1887, during a time of transition marked by some uneasiness about the real dimension of the work and “mythic” aspect of the artist, the Arundel Society, an English institution devoted to promote the knowledge of Art, would send Emilio Costantini to Portugal in order to copy, among other panels, the Saint Peter of Viseu’s cathedral.
This undertaking related to John Charles Robinson and William Henry Gregory journey to Portugal (1865), resulted in a watercolour copy of one of Vasco Fernandes’ masterpieces and its corresponding chromolithograph intended to internationally disseminate the then little-known Portuguese Renaissance Painting.
In 1887, during a time of transition marked by some uneasiness about the real dimension of the work and “mythic” aspect of the artist, the Arundel Society, an English institution devoted to promote the knowledge of Art, would send Emilio Costantini to Portugal in order to copy, among other panels, the Saint Peter of Viseu’s cathedral.
This undertaking related to John Charles Robinson and William Henry Gregory journey to Portugal (1865), resulted in a watercolour copy of one of Vasco Fernandes’ masterpieces and its corresponding chromolithograph intended to internationally disseminate the then little-known Portuguese Renaissance Painting.
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A Sociedade Promotora das Belas-Artes em Portugal promoveu, entre os anos de 1862 e 1887, catorze exposições. Consequentemente, interessou-nos averiguar a importância destes certames para o desenvolvimento do então incipiente mercado... more
A Sociedade Promotora das Belas-Artes em Portugal promoveu, entre os anos de 1862 e 1887, catorze exposições. Consequentemente, interessou-nos averiguar a importância destes certames para o desenvolvimento do então incipiente mercado primário de arte moderna. Neste âmbito, recorremos, essencialmente, a catálogos, estatutos, regulamentos, relatórios/contas e periódicos. O registo, organização e análise de quase duas mil obras de pintura expostas nestes palcos e um especial enfoque nas extracções de loteria e vendas promovidas nestas mostras, revelará o pioneirismo e impacte desta instituição na dinamização da economia artística nacional.
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The present study aimed to evaluate the understanding of the touristic value of Portuguese overseas monuments during Estado Novo, having as case-study the then colony of Angola between 1959 and 1974, years marked by the creation of the... more
The present study aimed to evaluate the understanding of the touristic value of Portuguese overseas monuments during Estado Novo, having as case-study the then colony of Angola between 1959 and 1974, years marked by the creation of the Information and Tourism Centre and the fall of the regime. Thus, considering the reality of the metropolis, we aimed to identify and analyse the evolution of tourism in this territory, as well the understanding and use of historic monuments by a nationalist regime as points of touristic interest and legitimisers of the national colonialism. We argue that during two different but totally complementary moments devoted to the relation between tourism and historic monuments of Angola, there was a real understanding of their touristic value. Besides that we claim that the believers of the touristic value of those monuments were very often advocates of the preservation or restoration of their pristine characteristics, an idea that we can affiliate to the thought of António Ferro to whom the success of tourism was extremely dependent on preserving and emphasizing the picturesque and idiosyncratic characteristics of those tourist destinations. To achieve our goals we have identified and analysed some tourism-related periodicals, thematic studies and legislation.
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Em 2018, quando se comemora o “Ano Europeu do Património Cultural”, o Congresso Dinâmicas do Património Artístico – Circulação, Transformações e Diálogos, cujos resultados se reúnem neste volume, constituiu uma profícua oportunidade de... more
Em 2018, quando se comemora o “Ano Europeu do Património Cultural”, o Congresso Dinâmicas do Património Artístico – Circulação, Transformações e Diálogos, cujos resultados se reúnem neste volume, constituiu uma profícua oportunidade de reflexão e discussão acerca de temáticas de grande atualidade e pertinência. Neste contexto de apreciação e comemoração do património cultural, da sua eloquência e capacidade de convocar memórias e instigar relações, pretendemos colocar a tónica em três aspetos indissociáveis do potencial e fragilidades dos bens artísticos: a sua circulação, transformações e diálogos, desde os tempos mais recuados até à atualidade.
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The present study aimed to evaluate the understanding of the touristic value of Portuguese overseas monuments during Estado Novo, having as case-study the then colony of Angola between 1959 and 1974, years marked by the creation of the... more
The present study aimed to evaluate the understanding of the touristic value of Portuguese overseas monuments during Estado Novo, having as case-study the then colony of Angola between 1959 and 1974, years marked by the creation of the Information and Tourism Centre and the fall of the regime. Thus, considering the reality of the metropolis, we aimed to identify and analyse the evolution of tourism in this territory, as well the understanding and use of historic monuments by a nationalist regime as points of touristic interest and legitimisers of the national colonialism. We argue that during two different but totally complementary moments devoted to the relation between tourism and historic monuments of Angola, there was a real understanding of their touristic value. Besides that we claim that the believers of the touristic value of those monuments were very often advocates of the preservation or restoration of their pristine characteristics, an idea that we can affiliate to the thought of António Ferro to whom the success of tourism was extremely dependent on preserving and emphasizing the picturesque and idiosyncratic characteristics of those tourist destinations. To achieve our goals we have identified and analysed some tourism-related periodicals, thematic studies and legislation.
9 de Junho de 2017: CONFERÊNCIA INAUGURAL - VERGÍLIO CORREIA (1888-1944): UM OLHAR FOTOGRÁFICO
28 de Setembro de 2017: JORNADA DE CONFERÊNCIAS - VERGÍLIO CORREIA (1888-1944): UM PERCURSO ÍMPAR NA HISTÓRIA, NA CULTURA E NAS ARTES
28 de Setembro de 2017: JORNADA DE CONFERÊNCIAS - VERGÍLIO CORREIA (1888-1944): UM PERCURSO ÍMPAR NA HISTÓRIA, NA CULTURA E NAS ARTES
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Exposição temporária - Arquivo Nacional Torre do Tombo, 9 de Junho a 28 de Setembro de 2017. Inauguração: 9 de Junho, sexta-feira, às 16 horas no Arquivo Nacional Torre do Tombo, com conjunto de comunicações cujo programa pode ser visto... more
Exposição temporária - Arquivo Nacional Torre do Tombo, 9 de Junho a 28 de Setembro de 2017.
Inauguração: 9 de Junho, sexta-feira, às 16 horas no Arquivo Nacional Torre do Tombo, com conjunto de comunicações cujo programa pode ser visto em:
http://antt.dglab.gov.pt/vergilio-correia-1888-1944-um-olhar-fotografico-conferencias-e-exposicao/
Inauguração: 9 de Junho, sexta-feira, às 16 horas no Arquivo Nacional Torre do Tombo, com conjunto de comunicações cujo programa pode ser visto em:
http://antt.dglab.gov.pt/vergilio-correia-1888-1944-um-olhar-fotografico-conferencias-e-exposicao/
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I Curso Livre de Colecionismo, Coleções e Colecionadores do ARTIS - Instituto de História da Arte da Faculdade de Letras da Universidade de Lisboa. Destinado a estudantes, profissionais de áreas correlacionadas com a problemática... more
I Curso Livre de Colecionismo, Coleções e Colecionadores do ARTIS - Instituto de História da Arte da Faculdade de Letras da Universidade de Lisboa.
Destinado a estudantes, profissionais de áreas correlacionadas com a problemática abordada e a outros interessados, o curso visa lançar o debate sobre temas que permitam aos participantes compreender a evolução do fenómeno do colecionismo (desde épocas remotas até à atualidade); familiarizar-se com coleções públicas e privadas, construídas e descontruídas, em contexto diversificado; contactar com os percursos e práticas de colecionadores que marcaram e/ou que ainda marcam as dinâmicas do mercado da arte.
Terão lugar 8 sessões com conferencistas convidados, nos meses de Outubro e Novembro de 2017, entre as 18h e as 19h30, na Faculdade de Letras da Universidade de Lisboa.
Inscrições até 15 de Setembro (vagas limitadas).
Destinado a estudantes, profissionais de áreas correlacionadas com a problemática abordada e a outros interessados, o curso visa lançar o debate sobre temas que permitam aos participantes compreender a evolução do fenómeno do colecionismo (desde épocas remotas até à atualidade); familiarizar-se com coleções públicas e privadas, construídas e descontruídas, em contexto diversificado; contactar com os percursos e práticas de colecionadores que marcaram e/ou que ainda marcam as dinâmicas do mercado da arte.
Terão lugar 8 sessões com conferencistas convidados, nos meses de Outubro e Novembro de 2017, entre as 18h e as 19h30, na Faculdade de Letras da Universidade de Lisboa.
Inscrições até 15 de Setembro (vagas limitadas).
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Beyond Borders – The key for art market power Casa-Museu Medeiros e Almeida (Lisbon, Portugal) 2-3 November 2020 The present conference seeks to counteract the frequent tendency of scholars of art market studies to mainly focus their... more
Beyond Borders – The key for art market power
Casa-Museu Medeiros e Almeida (Lisbon, Portugal)
2-3 November 2020
The present conference seeks to counteract the frequent tendency of scholars of art market studies to mainly focus their attention on collectors, rather than on suppliers and intermediaries. In this spirit, we urge researchers to reflect upon the generic idea according to which these art market players are all the more powerful because they have a multinational presence, specifically various branches in several countries.
For example Christie’s and Sotheby’s, multinational corporations, now dominate the secondary art market, but we can also cite earlier examples such as the Parisian dealer Paul Durand-Ruel, who conquered America, the firm Goupil & Cie, the New Yorker Knoedler, who established himself on the European market, or Agnew’s, the Duveen brothers, the Islamic art dealer Dikran Kelekian and, for Asian art objects, the firm Yamanaka & Co.
The purpose of this conference, therefore, is to question this rule of thumb, according to which the leaders of the art market are also those who have been able to conquer foreign countries and who also own several branches of their business.
Website
https://beyondborders2020.weebly.com/
Organisation
ARTIS - Institute of Art History, School of Arts and Humanities, University of Lisbon
École Normale Supérieure (Paris)
Organising Committee
Vera Mariz - ARTIS - Institute of Art History, FLUL
Léa Saint-Raymond - École Normale Supérieure (Paris)
Scientific Committee
Adelaide Duarte - Instituto de História da Arte, NOVA/FCSH
Agnès Penot-Lejeune - Independent Researcher
Christian Huemer - Belvedere Research Center
Cléa Patin - Université Jean Moulin Lyon 3
Diana J. Kostyrko - RSHA, Australian National University
Elizabeth Pergam - Sotheby’s Institute of Art
Filip Vermeylen - Erasmus University Rotterdam
Frances Fowle - Edinburgh College of Art
Maria João Baptista Neto - ARTIS - Institute of Art History, FLUL
Marta Perez-Ibanez - Independent Researcher
Natasha Degen - FIT, State University of New York
Sandra van Ginhoven - Getty Research Institute
Yaëlle Biro - The Metropolitan Museum of Art
Executive Committee
Lúcia Marinho - ARTIS - Institute of Art History, FLUL
Submission guidelines
We welcome papers on the conference topics and other themes as long as they are aligned with the conference general goals.
The language of the conference will be English and the submissions should include:
• Title of the proposal;
• Identification of the applicant: name, institutional affiliation, country and e-mail;
• Abstract of 400 words or less;
• Short professional bio up to 100 words.
All proposals must be submitted in Word format to conference.beyondborders@gmail.com with vera.mariz@letras.ulisboa.pt and lea.saint-raymond@ens.fr in cc.
The proposed contributions will be reviewed and a selection will be made by the Scientific Committee, through a double-blind review process. All accepted papers will be published in a book.
Deadlines
February 15, 2020: Proposals submission
April 2020: Note of acceptance
December 18, 2020: Full paper submission
Casa-Museu Medeiros e Almeida (Lisbon, Portugal)
2-3 November 2020
The present conference seeks to counteract the frequent tendency of scholars of art market studies to mainly focus their attention on collectors, rather than on suppliers and intermediaries. In this spirit, we urge researchers to reflect upon the generic idea according to which these art market players are all the more powerful because they have a multinational presence, specifically various branches in several countries.
For example Christie’s and Sotheby’s, multinational corporations, now dominate the secondary art market, but we can also cite earlier examples such as the Parisian dealer Paul Durand-Ruel, who conquered America, the firm Goupil & Cie, the New Yorker Knoedler, who established himself on the European market, or Agnew’s, the Duveen brothers, the Islamic art dealer Dikran Kelekian and, for Asian art objects, the firm Yamanaka & Co.
The purpose of this conference, therefore, is to question this rule of thumb, according to which the leaders of the art market are also those who have been able to conquer foreign countries and who also own several branches of their business.
Website
https://beyondborders2020.weebly.com/
Organisation
ARTIS - Institute of Art History, School of Arts and Humanities, University of Lisbon
École Normale Supérieure (Paris)
Organising Committee
Vera Mariz - ARTIS - Institute of Art History, FLUL
Léa Saint-Raymond - École Normale Supérieure (Paris)
Scientific Committee
Adelaide Duarte - Instituto de História da Arte, NOVA/FCSH
Agnès Penot-Lejeune - Independent Researcher
Christian Huemer - Belvedere Research Center
Cléa Patin - Université Jean Moulin Lyon 3
Diana J. Kostyrko - RSHA, Australian National University
Elizabeth Pergam - Sotheby’s Institute of Art
Filip Vermeylen - Erasmus University Rotterdam
Frances Fowle - Edinburgh College of Art
Maria João Baptista Neto - ARTIS - Institute of Art History, FLUL
Marta Perez-Ibanez - Independent Researcher
Natasha Degen - FIT, State University of New York
Sandra van Ginhoven - Getty Research Institute
Yaëlle Biro - The Metropolitan Museum of Art
Executive Committee
Lúcia Marinho - ARTIS - Institute of Art History, FLUL
Submission guidelines
We welcome papers on the conference topics and other themes as long as they are aligned with the conference general goals.
The language of the conference will be English and the submissions should include:
• Title of the proposal;
• Identification of the applicant: name, institutional affiliation, country and e-mail;
• Abstract of 400 words or less;
• Short professional bio up to 100 words.
All proposals must be submitted in Word format to conference.beyondborders@gmail.com with vera.mariz@letras.ulisboa.pt and lea.saint-raymond@ens.fr in cc.
The proposed contributions will be reviewed and a selection will be made by the Scientific Committee, through a double-blind review process. All accepted papers will be published in a book.
Deadlines
February 15, 2020: Proposals submission
April 2020: Note of acceptance
December 18, 2020: Full paper submission
Research Interests:
Chamada de comunicações O Congresso «Dinâmicas do Património Artístico: Circulação, Transformações e Diálogos», encontro científico organizado pelo ARTIS - Instituto de História da Arte (FLUL) terá lugar nos dias 02 e 03 de outubro de... more
Chamada de comunicações
O Congresso «Dinâmicas do Património Artístico: Circulação, Transformações e Diálogos», encontro científico organizado pelo ARTIS - Instituto de História da Arte (FLUL) terá lugar nos dias 02 e 03 de outubro de 2018 na Faculdade de Letras da Universidade de Lisboa.
No ano em que se comemora o “Ano Europeu do Património Cultural” este congresso pretende ser uma plataforma de reflexão e discussão acerca de temáticas de grande atualidade e pertinência. Neste contexto de apreciação e comemoração do património cultural, da sua eloquência e capacidade de convocar memórias e instigar relações, pretendemos colocar a tónica em três aspetos indissociáveis do potencial e fragilidades dos bens artísticos: a sua circulação, transformações e diálogos, desde os tempos mais recuados até à atualidade.
Os temas do congresso serão os seguintes: Circulação de obras de arte e o seu consumo; Transformações materiais e imateriais do património artístico; Reproduções e falsificações de obras de arte; Reconstituição e revisitação de obras de arte, de coleções e de espaços museológicos; Os catálogos de arte.
As propostas de comunicações deverão ser enviadas até ao dia 28 de fevereiro de 2018.
Mais informações em:
https://patrimonioartistico2018.weebly.com/
O Congresso «Dinâmicas do Património Artístico: Circulação, Transformações e Diálogos», encontro científico organizado pelo ARTIS - Instituto de História da Arte (FLUL) terá lugar nos dias 02 e 03 de outubro de 2018 na Faculdade de Letras da Universidade de Lisboa.
No ano em que se comemora o “Ano Europeu do Património Cultural” este congresso pretende ser uma plataforma de reflexão e discussão acerca de temáticas de grande atualidade e pertinência. Neste contexto de apreciação e comemoração do património cultural, da sua eloquência e capacidade de convocar memórias e instigar relações, pretendemos colocar a tónica em três aspetos indissociáveis do potencial e fragilidades dos bens artísticos: a sua circulação, transformações e diálogos, desde os tempos mais recuados até à atualidade.
Os temas do congresso serão os seguintes: Circulação de obras de arte e o seu consumo; Transformações materiais e imateriais do património artístico; Reproduções e falsificações de obras de arte; Reconstituição e revisitação de obras de arte, de coleções e de espaços museológicos; Os catálogos de arte.
As propostas de comunicações deverão ser enviadas até ao dia 28 de fevereiro de 2018.
Mais informações em:
https://patrimonioartistico2018.weebly.com/
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International conference Beyond Borders – The key for art market power Online, 2-3 November 2020 This international conference aims to discuss the generic idea that art market’s leaders are those who are able to have a multinational... more
International conference
Beyond Borders – The key for art market power
Online, 2-3 November 2020
This international conference aims to discuss the generic idea that art market’s leaders are those who are able to have a multinational presence. With this in mind, in the call for papers we have urged researchers to reflect upon suppliers and intermediaries who have been able to conquer foreign countries and own several branches of their business. As a result, we hope to push forward the knowledge frontier on the international art market, and specifically on the multinational dimension of leading and less-known suppliers and intermediaries, thus unveiling overlooked strategies and relationships.
Organisation:
Vera Mariz (ARTIS – Institute of Art History, University of Lisbon)
Léa Saint-Raymond (Ecole normale supérieure, Paris).
Registration:
The conference will take place online, via Zoom. Admission is free but registration is mandatory. Please fill the registration form : https://docs.google.com/forms/d/e/1FAIpQLSdbKir6grwaYNF8EH-tZEjP0OxYlfsCM2Up-tmlyztdBaAZyA/viewform
Day 1 - 02.11.2020
14:00-14:10 Welcome and opening remarks
Panel 1: Art Market Power in the 18th and 19th centuries
Chair: Elizabeth Pergam (Sotheby’s Institute of Art)
14:10-14:25 Adriana Turpin (Institut d’Etudes Supérieures des Arts): Dealers and the development of a market for English Eighteenth-century furniture
14:25-14:40 Valeria Paruzzo (Università di Trento - Dipartimento di Lettere e Filosofia): The dealer Giovanni Querci della Rovere selling paintings beyond the borders of Austrian Venice (1815-1866)
14:40-14:55 Camille Mestdagh (Centre Georges Chevrier/LAHRHA): Knowing the key go-betweens: a condition for market leadership
14:55-15:10 Patricia Delayti Telles (CEAACP/ University of Coimbra): Against all odds: the commerce of paintings in early 19th century Portugal and Brazil
15:10-15:25 Discussion
15:25-15:30 Break
Panel 2 - The American moment of the internationalization (at the turn of the 20th century)
Chair: Yaëlle Biro (The Metropolitan Museum of Art)
15:30-15:45 Lynn Catterson (Columbia University): The Florentine Dealer Stefano Bardini and his strategies for Art Market Power
15:45-16:00 MaryKate Cleary (The University of Edinburgh): Marius de Zayas and Henri-Pierre Roché: Agents of the Art Dealer Paul Rosenberg
16:00-16:15 Susana Stüssi Garcia (HiCSA, Université Paris 1 Panthéon-Sorbonne): Mexico – Paris – New York. Eugène Boban and the invention of a Pre-Columbian art market in 19th century Paris
16:15-16:30 Discussion
16:30-16:35 Break
Panel 3 - The American moment of the internationalization (at the turn of the 20th century)
Chair: Sandra van Ginhoven (Getty Research Institute)
16:35-16:50 Christine Vivet-Peclet (Centre de Documentation – Musée des monuments français - Cité de l’architecture et du patrimoine): The Demotte Inc. and the betting of the American Art Market
16:50-17:05 Tom Hardwick (Houston Museum of Natural Science): Sterling, dollars, and Tutankhamun: Spink and Sons and the American market for Egyptian antiquities
17:05-17:20 Denise M. Budd (Bergen Community College): Charles Mather Ffoulke and the Emerging Tapestry Market
17:20-17:35 Meike Hopp (TU Berlin): Julius Böhler: a Munich art dealer expands to the American east coast of the “Golden Twenties”
17:35-17:50 Discussion
Day 2 - 03.11.2020
Panel 4 - Art Market Power in the 20th century
Chair: Frances Fowle (Edinburgh College of Art)
14:00-14:15 Catherine B. Scallen (Case Western Reserve University): International Art Dealing and the Collecting of Expertise. Duveen Brothers and its Strategic Engagement with Museum Professionals
14:15-14:30 Vérane Tasseau (Independent Art Historian/ Researcher Picasso Estate): Daniel-Henry Kahnweiler’s international partnerships
14:30-14:45 Discussion
14:45-14:50 Break
Panel 5 - Art Market Power in the 20th century
Chair: Filip Vermeylen (Erasmus University Rotterdam)
14:50-15:05 Anne Rothfeld (Independent Researcher): Hans Wendland – The Link to Sales in Switzerland
15:05-15:20 Stéphanie Ginalski, Emilie Widmer, Claire-Lise Debluë (Institute of Political Studies, University of Lausanne): Art societies as local and transnational power institutions: The case of Zurich
15:20-15:35 Maria de Lima Mayer (Casa-Museu Fundação Medeiros e Almeida): How “John Sparks Ltd.” influenced the British Chinese art market
15:35-15:50 Discussion
15:50-15:55 Break
Panel 6 - Art Market Power in the 21st century
Chair: Marta Pérez Ibáñez (Independent Researcher)
15:55-16:10 Makoto Shimada (Keio University Law School): Market power in art auction in Japan
16:10-16:25 Rémy Auguste François Jarry (Chulalongkorn University) - Southeast Asian Art Market: Emergence and Integration of ASEAN Countries
16:25-16:40 Marion Bertin (École du Louvre & Université de la Rochelle - CRHIA): “The market is dying”: power and conflicts between art dealers and auctions houses in the tribal art market
16:40-16:55 Discussion
16:55-17:00 Break
Panel 7 - Art Market Power in the 21st century
Chair: Adelaide Duarte (Instituto de História da Arte, NOVA/FCSH)
17:00-17:15 Alain Quemin (Université Paris-8): Elaborating a ranking of leading contemporary art galleries: Does nationality matter and to what extent is internationalization necessary to control the market?
17:15-17:30 Melanie Fasche (Sotheby’s Institute of Art): Geographic expansion and market power in the contemporary art sector: evidence from leading commercial galleries
17:30-17:45 Laurel Zuckerman (Independent researcher): Computing Impact: A methodology for identifying top NEPIP art dealers by frequency of mentions in provenance
17:45-18:00 Discussion
18:00-18:10 Closing remarks
Beyond Borders – The key for art market power
Online, 2-3 November 2020
This international conference aims to discuss the generic idea that art market’s leaders are those who are able to have a multinational presence. With this in mind, in the call for papers we have urged researchers to reflect upon suppliers and intermediaries who have been able to conquer foreign countries and own several branches of their business. As a result, we hope to push forward the knowledge frontier on the international art market, and specifically on the multinational dimension of leading and less-known suppliers and intermediaries, thus unveiling overlooked strategies and relationships.
Organisation:
Vera Mariz (ARTIS – Institute of Art History, University of Lisbon)
Léa Saint-Raymond (Ecole normale supérieure, Paris).
Registration:
The conference will take place online, via Zoom. Admission is free but registration is mandatory. Please fill the registration form : https://docs.google.com/forms/d/e/1FAIpQLSdbKir6grwaYNF8EH-tZEjP0OxYlfsCM2Up-tmlyztdBaAZyA/viewform
Day 1 - 02.11.2020
14:00-14:10 Welcome and opening remarks
Panel 1: Art Market Power in the 18th and 19th centuries
Chair: Elizabeth Pergam (Sotheby’s Institute of Art)
14:10-14:25 Adriana Turpin (Institut d’Etudes Supérieures des Arts): Dealers and the development of a market for English Eighteenth-century furniture
14:25-14:40 Valeria Paruzzo (Università di Trento - Dipartimento di Lettere e Filosofia): The dealer Giovanni Querci della Rovere selling paintings beyond the borders of Austrian Venice (1815-1866)
14:40-14:55 Camille Mestdagh (Centre Georges Chevrier/LAHRHA): Knowing the key go-betweens: a condition for market leadership
14:55-15:10 Patricia Delayti Telles (CEAACP/ University of Coimbra): Against all odds: the commerce of paintings in early 19th century Portugal and Brazil
15:10-15:25 Discussion
15:25-15:30 Break
Panel 2 - The American moment of the internationalization (at the turn of the 20th century)
Chair: Yaëlle Biro (The Metropolitan Museum of Art)
15:30-15:45 Lynn Catterson (Columbia University): The Florentine Dealer Stefano Bardini and his strategies for Art Market Power
15:45-16:00 MaryKate Cleary (The University of Edinburgh): Marius de Zayas and Henri-Pierre Roché: Agents of the Art Dealer Paul Rosenberg
16:00-16:15 Susana Stüssi Garcia (HiCSA, Université Paris 1 Panthéon-Sorbonne): Mexico – Paris – New York. Eugène Boban and the invention of a Pre-Columbian art market in 19th century Paris
16:15-16:30 Discussion
16:30-16:35 Break
Panel 3 - The American moment of the internationalization (at the turn of the 20th century)
Chair: Sandra van Ginhoven (Getty Research Institute)
16:35-16:50 Christine Vivet-Peclet (Centre de Documentation – Musée des monuments français - Cité de l’architecture et du patrimoine): The Demotte Inc. and the betting of the American Art Market
16:50-17:05 Tom Hardwick (Houston Museum of Natural Science): Sterling, dollars, and Tutankhamun: Spink and Sons and the American market for Egyptian antiquities
17:05-17:20 Denise M. Budd (Bergen Community College): Charles Mather Ffoulke and the Emerging Tapestry Market
17:20-17:35 Meike Hopp (TU Berlin): Julius Böhler: a Munich art dealer expands to the American east coast of the “Golden Twenties”
17:35-17:50 Discussion
Day 2 - 03.11.2020
Panel 4 - Art Market Power in the 20th century
Chair: Frances Fowle (Edinburgh College of Art)
14:00-14:15 Catherine B. Scallen (Case Western Reserve University): International Art Dealing and the Collecting of Expertise. Duveen Brothers and its Strategic Engagement with Museum Professionals
14:15-14:30 Vérane Tasseau (Independent Art Historian/ Researcher Picasso Estate): Daniel-Henry Kahnweiler’s international partnerships
14:30-14:45 Discussion
14:45-14:50 Break
Panel 5 - Art Market Power in the 20th century
Chair: Filip Vermeylen (Erasmus University Rotterdam)
14:50-15:05 Anne Rothfeld (Independent Researcher): Hans Wendland – The Link to Sales in Switzerland
15:05-15:20 Stéphanie Ginalski, Emilie Widmer, Claire-Lise Debluë (Institute of Political Studies, University of Lausanne): Art societies as local and transnational power institutions: The case of Zurich
15:20-15:35 Maria de Lima Mayer (Casa-Museu Fundação Medeiros e Almeida): How “John Sparks Ltd.” influenced the British Chinese art market
15:35-15:50 Discussion
15:50-15:55 Break
Panel 6 - Art Market Power in the 21st century
Chair: Marta Pérez Ibáñez (Independent Researcher)
15:55-16:10 Makoto Shimada (Keio University Law School): Market power in art auction in Japan
16:10-16:25 Rémy Auguste François Jarry (Chulalongkorn University) - Southeast Asian Art Market: Emergence and Integration of ASEAN Countries
16:25-16:40 Marion Bertin (École du Louvre & Université de la Rochelle - CRHIA): “The market is dying”: power and conflicts between art dealers and auctions houses in the tribal art market
16:40-16:55 Discussion
16:55-17:00 Break
Panel 7 - Art Market Power in the 21st century
Chair: Adelaide Duarte (Instituto de História da Arte, NOVA/FCSH)
17:00-17:15 Alain Quemin (Université Paris-8): Elaborating a ranking of leading contemporary art galleries: Does nationality matter and to what extent is internationalization necessary to control the market?
17:15-17:30 Melanie Fasche (Sotheby’s Institute of Art): Geographic expansion and market power in the contemporary art sector: evidence from leading commercial galleries
17:30-17:45 Laurel Zuckerman (Independent researcher): Computing Impact: A methodology for identifying top NEPIP art dealers by frequency of mentions in provenance
17:45-18:00 Discussion
18:00-18:10 Closing remarks