A public talk by Bronwen Wilson and Angela Vanhaelen as part of the Joan Carlisle-Irving Lecture Series.
5:30 p.m.\, Wednesday\, November 6\, 2024
Room 104\, Frederic Lasserre Building
6333 Memorial Road\, University of British Columbia
ahva.ubc.ca
Please contact the AHVA Visual Resources Centre for ac cess to the event recording: ahva.vrc@ubc. ca
Bronwen Wilson and Angela Vanhaelen
have collaborated since their graduate student days at UBC. Their lectures
will present aspects of their current collaborative project\, Making Green Worlds: Early Modern Art and Ecologie
s of Globalization\, which aims to re
-assess the intersections of global mobility\, environmental change\, and a
rtistic invention before the advent of the modern era.
Wilson’s lecture “Rem aking Mountains” explores the dynamics of stone\, bespoke printing\, and vi sion in the Descrizione del Sacro Mont e della Vernia\, printed in 1612\, pr obably in Florence. Rocky escarpments undulate across folio sheets designed to recreate the mountainous retreat of St Francis. Still perceived by some to be a living substance during the peri od\, stone is a protagonist in the volume and in pietra dura (hard stone) designs highlighted in the talk\, its othe rworldly nature attesting to the inventive power of the earth.
[caption id="attachment _34913" align="aligncenter" width="327"] Jacopo Ligozzi (designer) and Raffaello Schiam inossi (etcher)\, Detail of Plate A. ‘The following prospect shows how the mountain of Vernia appears close to a quarter mile while journeying from Ca sentino\, noting the most important Places by the letters of the Alphabet\, according to the promised order\, which one will be observed in this Work\ , as in other parts of it’\, in Fra Lino Moroni\, Descrizione del Sacro Mon te della Vernia (1612). Image: 58318751. Courtesy The New York Public Libra ry\, Digital Collections.[/caption]
Vanhae len’s lecture “Necropastoral Worldscapes” examines a series of plantation l andscapes made in seventeenth-century colonial Dutch Brazil. Taking up the concept of the necropastoral\, it investigates how these seemingly idyllic scenes indicate the enormous human and environmental devastation perpetuate d by the forcible extraction of labour from enslaved African people and of sugar from the Atlantic Forest.
[caption id="attachment_34912" align="aligncenter" width="424"]
Frans Post\, Sugar Mill\, mid-seventeenth century.
Oil on canvas\, 117 x 167 cm. Musée du Louvre.[/caption]
Bronwen Wilson teaches at UCLA\, where she is Edward W. Car
ter Chair in European Art and the Director of the Center for 17th- and 18th-century Studi
es and the William Andrews Clark Memorial Library. She is Vice President of
the Renaissance Society of America and serves on several editorial boards.
Recent publications include an Introduction and edited collection of essay
s for the journal Viator\,
titled “On Early Modern Ships: Images\, Metaphor
s\, Bodies”\; Conversion Machines in E
arly Modern Europe: Apparatus\, Artifice\, Body\, edited with Paul Yachnin\; and the essay\, “Between the Skull
and the Face: Jacopo Ligozzi and the Other Side of the Mirror\,” was just p
ublished in the volume Physiognomy and
Magic. Her book manuscript\,
The Horizons of Early Modern Mediterranean Tr
avel Imagery: space\, compass\, conversion\, is under consideration with Edinburgh University Press. The title o
f her current book project is Otherwor
ldly Natures: lithic formations\, in between spaces\, and early modern Ital
ian art.
Angela Vanhael en is professor of art history in the Department of Art History and Communi cation Studies at McGill University in Montreal\, Quebec\, Canada. Her book Opacity. Blackness and the Art of the Dutch Republic is currently in produ ction with Penn State University Press. She is also the author of The Moving Statues of 17th-century Amste rdam: Automata\, Waxworks\, Fountains\, Labyrinths\, published by Penn State in 2022. With Bronwen Wilson\, she is principal investigator of the research initiative Making Green Worlds: Early Modern Art and Ecologies of Globa lization\, which is funded by the Soc ial Sciences and Humanities Research Council of Canada. Vanhaelen’s 2012 book\, The Wake of Iconoclasm: Painting the Church in the Dutch Republic was awarded the Bainton prize. She is also th e author of Comic Print and Theatre in Early Modern Amsterdam: Gender\, Childhood and the City\, which developed out of the doctoral dissertation that she wrote while a PhD student here at UBC.
We acknowledge that the UBC Vanc ouver campus is situated on the traditional\, ancestral\, and unceded terri tory of the xʷməθkʷəy̓əm (Musqueam).
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