Symposium
Faire œuvre. Making a Body of Work.
Ernest Louis Désiré Le Deley, Postcard : Atelier Humbert, 1903, Photo © Beaux-Arts de Paris, Dist. RMN-Grand Palais / image Beaux-arts de Paris
This symposium is part of a wider collaboration based on the female artists from the collections of the Public Establishment of the Musée d’Orsay and the Musée de l’Orangerie, the Musée National d’Art Moderne – Centre Pompidou and the association AWARE: Archives of Women Artists, Research and Exhibitions. The purpose of this symposium is to study the training and professionalisation processes of female artists who intervened in the 19th and 20th centuries through their rise in structures of art education: from workshops and private academies to public institutions.
Excluded from institutional arts education for some time, women did not have access to these positions until the beginning of the 19th century. One example from France is the École spéciale de dessin pour les jeunes filles (School of Drawing for Girls), the only art school for women publicly financed by the State founded in 1803 and transformed into a public institution in 1810. After a long battle, women were finally accepted to the École des beaux-arts (Beaux-Arts School) in 1897, however, only one same-sex work shop was open for them until the end of the 1920s.
Studies in the History of Art have shown how family ties were determinant for the accession of women in the arts until the end of the nineteenth century. Afterwards, the increased development of art programmes available to women allowed for the immergence of a large number of professional artists from fine and applied arts, which has continued to grow.
This symposium intends to bring together researchers from various horizons in order to shed light on the research conducted on the schools, academies and workshops that opened their doors to women.
Scientific and Organising Committee
Musées d’Orsay and the Orangerie:
Sabine Cazenave, Chief Curator, Painting Department, Musée d’Orsay; Sophie Eloy, Head of Documentary Studies, Musée de l’Orangerie; Thomas Galifot, Chief Curator, Photography, Musée d’Orsay; Leïla Jarbouai, Curator of Graphic Arts, Musée d’Orsay; Sylvie Patry, General Curator, Director of Conservation and Collecctions, Musée d’Orsay; Scarlett Reliquet, Head of courses, symposia and conferences, Musée d’Orsay and the Orangerie.
Musée National d’Art Moderne, Centre Pompidou:
Ariane Coulondre, Curator, Modern Collection; Nathalie Ernoult, Conservator, Modern Collection
AWARE: Archives of Women Artists, Research and Exhibitions:
Hanna Alkema, Head of Research Programmes; Camille Morineau, Chaiwomen of AWARE, Director of Exhibitions and Collections at the Monnaie de Paris; Fanny Verdier, Digital Contents Supervisor
External Members:
Alexia Creusen, Artist and Scientific Collaborator, University of Liège; Charlotte Foucher Zarmanian, Research Fellow, C.N.R.S., Historian of Art; Nicole R. Myers, The Barbara Thomas Lemmon Senior Curator of European Art, Dallas Museum of Art; Anne Rivière, Historian of Art; Séverine Sofio, Sociologist, C.N.R.S.; Julie Verlaine, Lecturer in Contemporary History, Université Paris 1 Panthéon-Sorbonne, Chairwoman of Mnémosyne
Information:
The languages of the symposium will be French and English.
Abstracts of the interventions will be available in French and English.
Thursday 19 September 2019 from 9.30 AM to 6.30 PM
Petite salle, Centre Pompidou. Free entrance (with no reservation)
Place Georges-Pompidou
75004 Paris
Attention: due to works on the piazza, entrance will be rue Beaubourg.
Subway lines: Rambuteau (line 11), Hôtel de Ville (lines 1 et 11), Châtelet (lines 1, 4, 7, 11 et 14)
RER: Châtelet Les Halles (lines A, B, D)
Bus lines: 29, 38, 47, 75
Friday 20 September 2019 from 9.30 AM to 6.45 PM
Auditorium of the Musée d’Orsay (level -2), entrance door C.
Free entrance, reservation is mandatory > registrations are closed
1, rue de la Légion d’honneur
75007 Paris
Subway line: Solférino (line 12)
RER: Musée d’Orsay (line C)
Bus lines: 24, 63, 68, 69, 73, 83, 84, 94
Contact: faireoeuvre@gmail.com
Programme
Thu. 19 September 2019
Petite salle, Centre Pompidou
Petite salle, Centre Pompidou
9:30-10:00 am
Welcoming
10:00-10:30 am
Introduction
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Welcome speech by the president, Serge Lasvignes (MNAM – Centre Pompidou)
Brigitte Léal (MNAM – Centre Pompidou) and Camille Morineau (AWARE)
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10:30-11:30 am
Session 1
Session 1
French Trainings in the 19th and 20th Centuries: the Crucial Role of the Private Academies
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Chairwoman: Ariane Coulondre
10:30 am | Maria Antonietta Trasforini (Università degli Studi di Ferrara, Italy) – Genre, modèles, peintres et entrepreneuriat d’art. Le cas de l’Académie Vitti à Paris (1889-1914)
10:50 am | Fanny Drugeon (Labex CAP, Paris) – L’Académie Lhote au féminin
11:30-11:45 am | BREAK
11:45-12:45 am | KEYNOTE 1 – Catherine Gonnard (INA, Bry-sur-Marne) – L’accès des femmes à l’École nationale des beaux-arts de Paris, une lutte féministe de l’Union des femmes peintres et sculpteurs et de ses allié·e·s
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12:45 am -2:15 pm
Lunch break
2:15-3:45 pm
Session 2
Session 2
Influence of the French Trainings abroad: Comparative Study of Artistic Teachings in Europe
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Chairwoman: Julie Verlaine
2:15 PM | Eva Belgherbi (École du Louvre – Université de Poitiers (CRIHAM)) – Entre Londres et Paris, la formation des sculptrices britanniques à la fin du XIXe siècle
2:35 PM | Linda Hinners (Nationalmuseum, Stockholm, Sweden) – Les femmes sculpteurs suédoises au tournant du siècle dernier – leurs origines et leur parcours éducatif et professionnel
2:55 PM | Ewa Bobrowska (Terra Foundation for American Art, Paris) – Munich ou Paris ? Les artistes polonaises cherchent à s’instruire
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3:45-4:15 pm
Break
4:15-5:45 pm
Session 3
Session 3
Sisterhoods: Learning Environments fostering Sociability and Emancipation
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Chairwoman: Matylda Taszycka (AWARE)
4:15 pm | Hedvig Martin-Ahlén (Södertörn University, Huddinge, Sweden) and Julia Voss (Leuphana Universität, Lüneburg, Germany) – “In the ages that are to come, Developed Woman will be great artist.” Hilma af Klint and her circle of professional female artists
4:35 pm | Samantha Niederman (University of York, Royaume-Uni) – Veiled Recognition: Frances Hodgkins’s Subversion of English Art Establishments through Radical Pedagogy
4:55 pm | Ana Bordenave (Université Paris 8 Vincennes Saint-Denis) – Des espaces de formations militants féministes : les ateliers Super-8 de Klonaris/Thomadaki dans les années 1980
5:45-6:30 pm | INTERVIEW between Béatrice Casadesus and Scarlett Reliquet
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All along the symposium
Posters session
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Camille Belvèze (École du Louvre, Paris) – Les femmes et l’apprentissage de l’eau-forte en Grande-Bretagne au tournant du XXe siècle
Barbara Caspers (Université Libre de Bruxelles, Belgium) – Le rôle de la parenté dans la construction des carrières artistiques des artistes femmes en Belgique entre 1830 et 1914
Camille Lesbros (École du Louvre, Paris) – Vivre de son art quand on est femme. Pratique et enseignement de la miniature au tournant des XIXe et XXe siècles
Orane Stalpers (EHESS, Paris) – L’enseignement de Lygia Clark à la Sorbonne, dans le contexte de la réforme des écoles d’art
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Fri. 20 September 2019
Auditorium, musée d’Orsay
Auditorium, musée d’Orsay
9.30-10.00 AM
Welcoming
10.00-10.30 AM
Introduction
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Sylvie Patry (musée d’Orsay)
Camille Morineau (AWARE)
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10.30-11.30 AM
Session 4
Session 4
A Gendered Distribution of the Disciplines: Guidance of Women toward Applied Art in the 19th Century
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Chairwoman: Séverine Sofio
10.30 AM | Renaud d’Enfert (Université de Picardie Jules Verne, Amiens) – Former des artistes ou des « ouvrières habiles » ? Les cours et écoles de dessin pour jeunes filles au XIXe siècle
10.50 AM | Luciana Lourenço Paes (UNICAMP – Universidade Estadual de Campinas, Brazil) – La méthode Cavé : reproduction et expression dans le projet d’une « école de femmes »
11.30-11.45 AM | BREAK
11.45-12.45 AM | KEYNOTE 2 – Lucile Encrevé and Alexandra Piat (École nationale supérieure des Arts décoratifs, Paris) – La place des femmes à l’École nationale supérieure des Arts décoratifs. Une autre Histoire à écrire
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12.45 AM-2.15 PM
Lunch break
2.15-3.45 PM
5e session
5e session
Scheduled Inequality: Women’s Access to Classes and Professionalisation in Question
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Chairwoman: Scarlett Reliquet
2.15 PM | Yelin Zhao (University of Leeds, United Kingdom) – Aspiration and Negotiation: Model-Artist Victorine Meurent in Her Time and in the History of Art
2.35 PM | Wendy Wiertz (KU Leuven, Belgium) – Male support for equal opportunities for Women at the Brussels’ Royal Academy of Fine Arts (late 19th century)
2.55 PM | Georgina G. Gluzman (Consejo Nacional de Investigaciones Científicas y Técnicas, Buenos Aires, Argentina) – How to become a professional (Woman) Artist in Argentina? The case of the Graduate School of Fine Arts (1930s-1940s)
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3.45-4.00 PM
Break
4.00-5.30 PM
Session 6
Session 6
Between France and the United States: Artists’ Careers as a Journey
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Chairwoman: Nicole R. Myers
4.00 PM | Heather Belnap (Brigham Young University, Provo, Utah, United States), Pioneering Women: Lessons from Paris and the Making of an Art Scene in the American West, 1890-1940
4.20 PM | Katherine Manthorne (Graduate Center, City University of New York, United States), If not for France: The Evolving Art Education of Eliza Pratt Greatorex
4.40 PM | Émilie Bouvard (Fondation Giacometti, Paris), La formation académique de Louise Bourgeois : Paris-New York
5.30-5.45 PM | BREAK
5.45-6.45 PM | CONCERT – Catherine Cantin (Solo Flute, Orchestra of the Opéra national de Paris) and Valérie Schaeffer (piano). Pieces by Lili Boulanger, Mel Bonis, Cécile Chaminade and Kaija Saariaho presented by Mélanie Traversier.
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All along the symposium
Posters session
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Camille Belvèze (École du Louvre, Paris) – Les femmes et l’apprentissage de l’eau-forte en Grande-Bretagne au tournant du XXe siècle
Barbara Caspers (Université Libre de Bruxelles, Belgium) – Le rôle de la parenté dans la construction des carrières artistiques des artistes femmes en Belgique entre 1830 et 1914
Camille Lesbros (École du Louvre, Paris) – Vivre de son art quand on est femme. Pratique et enseignement de la miniature au tournant des XIXe et XXe siècles
Orane Stalpers (EHESS, Paris) – L’enseignement de Lygia Clark à la Sorbonne, dans le contexte de la réforme des écoles d’art
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Comité scientifique et d’organisation
Musées d’Orsay et de l’Orangerie :
Sabine Cazenave, conservatrice en chef, département des peintures, musée d’Orsay ; Sophie Eloy, chargée d’études documentaires, musée de l’Orangerie ; Thomas Galifot, conservateur en chef, photographie, musée d’Orsay ; Leïla Jarbouai, conservatrice des arts graphiques, musée d’Orsay ; Sylvie Patry, conservatrice générale, directrice de la conservation et des collections, musée d’Orsay ; Scarlett Reliquet, responsable des cours, colloques et conférences, musées d’Orsay et de l’Orangerie
Musée national d’Art moderne, Centre Pompidou :
Ariane Coulondre, conservatrice, collections modernes ; Nathalie Ernoult, attachée de conservation, collections modernes
AWARE : Archives of Women Artists, Research and Exhibitions :
Hanna Alkema, responsable des programmes scientifiques ; Camille Morineau, présidente d’AWARE, directrice des expositions et des collections à la Monnaie de Paris ; Fanny Verdier, chargée des contenus numériques
Personnalités extérieures :
Alexia Creusen, plasticienne et collaboratrice scientifique à l’université de Liège ; Charlotte Foucher Zarmanian, chargée de recherches, C.N.R.S., historienne de l’art ; Nicole Myers, The Barbara Thomas Lemmon Senior Curator of European Art, Dallas Museum of Art ; Anne Rivière, historienne de l’art ; Séverine Sofio, sociologue, C.N.R.S. ; Julie Verlaine, maîtresse de conférences en histoire contemporaine, université Paris 1 Panthéon-Sorbonne, présidente de Mnémosyne
