COLL: « ‘Glowing Colour’: the ‘Chromatic Turn’ in Victorian Art, Design and Fashion », Oxford

Vous trouverez ci-dessous le programme d’un colloque international et interdisciplinaire sur les couleurs victoriennes qui aura lieu à Worcester College les 28 et 29 juin prochains. Ce colloque a pour but de préparer l’exposition ‘Glowing colour, From Turner to Whistler’ (2022-2023), en partenariat avec l’Ashmolean Museum d’Oxford et le Yale Center for British Art.

Voici le lien vers le PDF du programme en couleurs: https://www.ashmolean.org/files/glowingcolourprogrammefinalpdf

Bien cordialement,

Charlotte Ribeyrol
Associate Professor in 19th century British Literature – VALE EA 4085
Sorbonne Université / Junior Member of the Institut Universitaire de France
Marie Sklodowska Curie Fellow, Trinity College, Oxford (2016-2018)
Principal Investigator of the ERC Project CHROMOTOPE (2019-2024)

‘Glowing Colour’: the ‘Chromatic Turn’ in Victorian Art, Design and Fashion

Friday and Saturday 28-29 June, 2019

Sultan Nazrin Shah Centre, Worcester College, Oxford

The industrial supremacy of Victorian Britain is often perceived through the darkening filter of coal pollution. And yet, it led to innovations such as the invention of vivid aniline dyes. The ‘chromatic turn’ of the 1850s and 1860s mapped out new ways of thinking about colour in science, art, design and fashion. This ‘colour revolution’ came to prominence during the 1862 International Exhibition, a forgotten and yet key, chromatic event. But if colour became for the first time a major signifier of the modern, many writers and artists, rebelling against the industrial present, invited their contemporaries to learn from the ‘sacred’ colours of the past or from the gorgeous hues of the East.

Organised by the Ashmolean Museum, this groundbreaking conference will explore the impact of this ‘chromatic turn’ on Victorian art, design and fashion. It will help inform and shape a forthcoming major exhibition on Victorian colour at the Ashmolean Museum, Oxford and the Yale Center for British Art, New Haven in 2022-23.

This conference has been made possible through the generous sponsorship of Barrie and Deedee Wigmore.

Friday 28 June

9.45 – 10.15 am Registration and coffee

10.15 – 10.30 am Introduction Alexander Sturgis (Director, Ashmolean Museum), Charlotte Ribeyrol (Sorbonne Université), Matthew Winterbottom (Ashmolean Museum)

Panel 1 The Colours of the Past

Chair: Kate Nichols (University of Birmingham)

10.30 – 10.50 am Stephanie Moser (University of Southampton): ‘Bedaubed with gorgeous colours’: the engagement of Victorian artists and designers with the art of ancient Egypt

10.50 – 11.10 am Martina Droth (Yale Center for British Art): Seemly and unseemly colour: Chromatic turns in Victorian sculpture

11.10 – 11.30 am Megan Aldrich (Independent): Colour and the Gothic Revival: Crace, Pugin and the ‘True Principles’ of Gothic Colour

Discussion 11.30 – 11.50 am

11.50 am – 12.10 pm Donato Esposito (Independent): Animation of colour in the work of the Old Masters

12.10 – 12.30 pm Charlotte Gere (Independent): Colour in Victorian Jewellery

Discussion 12.30 – 12.45 pm

Lunch 12.45 – 2.00 pm

Panel 2 East & West: Displacing Colour

Chair: Mallica Kumbera Landrus (Ashmolean Museum)

2.00 – 2.20 pm Renate Dohmen (Open University): Colour and spice, and all things nice?

2.20 – 2.40 pm Christine Olson (Yale University): Mediating Design Reform: Owen Jones and Chromolithography

2.40 – 3.00 pm Harry Lyons (Independent): Christopher Dresser’s views on colour

Discussion 3.00 – 3.20 pm

3.20 – 3.40 pm Clare Pollard (Ashmolean Museum): ‘The instinct of colour’: The Victorian reception of colour in Japanese ornamental textiles

3.40 – 4.00 pm Aileen Tsui (Washington College, Maryland): Blackness and the Japanese Curtain in Whistler’s Arrangement in Grey and Black: Portrait of the Painter’s Mother

Discussion 4.00 – 4.15 pm

Tea 4.15 – 4.40 pm

Panel 3 The Colours of Modernity Part 1

Chair: Nicholas Gaskill (University of Oxford)

4.40 –5.00 pm Alison Matthews David (Ryerson University, Toronto): Arrayed in Rainbows: Fashion, Colour and the Fabrics of Modernity, 1850-70

5.00 – 5.20 pm Kirsty Sinclair Dootson (University of Cambridge): The Political Spectrum: Colour, Fashion, Film, and Feminist Aesthetics before 1900

5.20 – 5.40 pm Edwina Ehrman (V&A Museum): ‘Living Gems’: the use of natural colour in Victorian women’s fashion

Discussion 5.40 – 6.00 pm

Saturday 29 June

9.30 – 10.00 am Registration and coffee

Panel 4 The Colours of Modernity Part 2

Chair: Elizabeth Prettejohn (University of York)

10.00 – 10.20 am Colin Harrison (Ashmolean Museum): ‘You ought to love colour, and to think nothing quite beautiful or perfect without it’; The role of colour in John Ruskin’s teachings on art

10.20 – 10.40 am William Whyte (University of Oxford): The Victorians and Structural Polychromy

10.40 – 11.00 am Caroline Arscott (Courtauld Institute of Art): Colouristic monochrome: Idylls of the 1860s

Discussion 11.00 – 11.20 am

11.20 – 11.40 pm Joyce Townsend (Tate, London): British artists and their use of new materials in the later 19th century: followers or leaders?

11.40 – 12.00 pm Sabine Doran (Pennsylvania State University): ‘Earth’s blood on fire’ – Sacrificing the Colour of the Sanguine in the Fin de Siècle

Discussion 12.00 – 12.15 pm

Lunch 12.15 – 2 pm

Panel 5 Exhibiting Colour: the 1862 International Exhibition

Chair: Alexandra Loske (University of Sussex and Royal Pavilion, Brighton)

2.00 – 2.20 pm Max Donnelly (V&A Museum): ‘A certain glow of harmonious colour’: furniture at the International Exhibition of 1862

2.20 – 2.40 pm Jasmine Allen (Stained Glass Museum, Ely): ‘A vehicle of light and colour’: stained glass at the 1862 International Exhibition

2.40 – 3.00 pm Alicia Robinson (V&A Museum): Ironwork 1850-1875 and colour: Scott, Skidmore and the V&A

3.00 – 3.20 pm Paul Atterbury (Independent): New Ideas, New Techniques, New Colours – the revolution in Victorian ceramics

Discussion and concluding remarks 3.20 –3.50 pm

Tea 3.50 – 5.00 pm