Conference: 10–11 April 2018 (Senate House, London)
Private views: 12 April 2018 (British Museum, Courtauld Institute of Art, Rob Dixon, Senate House Library, Roger Smith, St Bride Library, V&A, Wellcome Collection)
Details: bit.ly/PrintingColour2018
Keynotes: Margaret Morgan Graselli (National Gallery of Art) and Martin Andews (Reading)
Convenors: Elizabeth Savage (Institute of English Studies) and Ad Stijnman (Leiden University)
Following from Printing Colour 1400-1700, this conference will be the first interdisciplinary assessment of Western colour printmaking in the long eighteenth century. It will bring together researchers, curators, special collections librarians, printers, printmakers, cataloguers, conservators, art historians, book historians, digital humanities practitioners, scientists, and others who care for colour-printed material, seek to understand them, or use them in research. The discussion will encompass all media, techniques, and functions, from fashion to fine art, wallpaper to scientific communication. The programme includes papers, posters, private views of eight collections, as well as reception at Senate House, London.
Day 1, April 10th
9:30 am, Chair: Jean Michel Massing (Cambridge)
Ad Stijnman (Leiden)
From Anatomy to Embroidery: Printed Colour in Books and Periodicals
Sarah Lowengard (The Cooper Union)
The Vagaries of Technology Transfer: J. C. Le Blon’s Wander into Tapestry-Making and its Connections to his Colour Printing Ventures
Manon van der Mullen (Rijksmuseum) & Dionysia Christoforou (Rijksmuseum)
From Colour Theory to Colour Practice: Printmakers in Pursuit of the ‘Right’ Pigments
Session 1: New ‘Old Masters’
11:30am, Chair Olenka Horbatsch (British Museum)
Benedetta Spadaccini (Ambrosiana)
Coloured Inks in Imitation of Old Masters Drawings
Rob Dixon(sirjoshuareynolds.com;stipple.co.uk)
Colour Printing: Worn Plates, Fine Impressions and ‘Furniture’ Prints
14:00 Session 3: Colour-Printing Drawings I, Chair Jef Schaeps (Leiden University Library)
Juliet Carey(Waddesdon Manor)
Blood, Earth and Ink: Gilles Demarteau and Red Chalk-Manner Printing
Zalina Tetermazova (Pushkin State Museum of Fine Arts)
Between Painting and Graphic Arts: Colour Printmaking in 18th Century Russia 15:30 Session 4: Colour-Printing Decoration
3:30 Session 3, Chair Sarah Grant (V&A)
Sidney Berger (Simmons College; University of Illinois, Urbana-Champaign) & Michèle Cloonan (Simmons College)
Bringing Colour to Books and Objects with Decorated Paper
Andrew Bush (National Trust)
18th-Century Paper Hangings and the Application of Colour
Geert-Jan Janse (Utrecht)
Chinoiserie in Colour: Jean-Baptiste Pillement and the Development of à la poupée Printing in France
17:15 Keynote: Margaret Morgan Grasselli (National Gallery of Art)
Chair Ad Stijnman (Leiden)
Printed Paintings and Engraved Drawings: Technical Innovations in Colour Printing in Eighteenth-Century France
Day 2, April 11, 2018, Senate House
9:30, Session 5: Colour Printing as a Symbolic Form, Chair Esther Chadwick (British Museum)
Chiara Palandri (National Library of Norway)
Colour Impressions from Norway: A Voyage Pittoresque through Colour Prints at the End of the 18th Century
Michael Phillips (York)
‘each having a sort of accidental look’: William Blake’s Processes of Colour Printing
Lea Hagedorn (Herzog August Library)
Heroes in Colour: Two-Colour Printed Portrait Series from Late Eighteenth-Century Paris
11:30, Session 5: Posters and Objects
Wendy Andrews (Cambridge)
English Wallpapers by Cowtan & Sons: ‘decorations of the highest class in every style of art’
Rob Banham (Reading)
Colour Printing in Lottery Bills, 1800-1826
Jake Benson (Leiden)
Curious Colours of Currency: Security Printing during the Long Eighteenth Century
Phillippa Mapes (English Heritage)
The English Wallpaper Trade, Colour Printing and the Consumer Revolution, 1750–1830
Alice Nicoliello
Louis Gautier-Dagoty, Colour Printmaker in Milan
Robin Rider (Wisconsin-Madison)
Colour in Print in Word and Deed
Elizabeth Savage (Institute of English Studies)
Original Revivals: Two New ‘Old Master’ Colour Woodcuts from the Early Nineteenth Century
Ad Stijnman (Leiden)
Colours of Anatomy: The Function and Style of Colour Printed Medical Figures compared to Fine Art Colour Prints 1500–1850
Corinne Thépaut-Cabasset (Versailles)
Printing Fashion in Colour 1700–1830
Evelyn Wöldicke Stiftung Brandenburger Tor
John Baptist Jackson’s Woodcuts
14:00 Session 7: Colour-Printing Drawings II, Chair Antony Griffiths
Corinne Le Bitouzé (Bibliothèque nationale de France)
The Market for Colour Printmaking in Louis XVI’s Paris: The Example of Louis-Marin Bonnet (1736–1793)
Claudia-Alexandra Schwaighofer
‘Gravés d’après les Originaux …’: Maria Katharina and Johann Gottlieb Prestel’s Prints after Drawings in the Context of Colour Printing in the Second Half of the Eighteenth Century
15:30, Session 8: Towards a Mass Market, Chair Rachel Sloan (Courtauld)
Simon Turner (Hollstein)
Elisha Kirkall and his Proposals for Printing in Chiaroscuro, Natural Colours and Tints
David Alexander
British Stipple Engravings Printed in Colour, 1775-1820
Roger Smith (New Baxter Society)
George Baxter’s Contribution to the Rise of Commercial Colour Printing in the 1830s to 1850s
17:15 Keynote: Martin Andrews (Reading) Chair Elizabeth Savage (IES)
The Pursuit of Realism: Techniques and Processes to Create Full Colour, 1700–1830s
Day 3, Private Views, April 12, 2018, London Collections
Advance registration required for all sessions
For further information: http://www.printingcolourproject.com/conferences/pc17001830/programme/
FUNDER
This event is sponsored by a major conference grant from the Fritz Thyssen Stiftung. It is also sponsored by the British Academy, Bibliographical Society, Institute of English Studies, Senate House Library, and Wellcome Collection.