{"word_count": 476, "character_count": 3658}
[caption id="attachment_2575" align="aligncenter" width="333"] Stephen Slaughter, Portrait de Hans Sloane, 1736, huile sur toile, Londres, Portrait Gallery.[/caption]Type : colloque.Date de la manifestation : du jeudi 8 au dimanche 11 septembre 2016.Lieu : Melbourne, The University of Melbourne &#38; National Gallery of Victoria.Programme complet.Programme concernant le XVIIIe siècle :Keynotes• David H. Solkin FBA Walter H Annenberg Professor of the History of Art, The Courtauld Institute of Art: ‘English or European? Portraiture and the Politics of National Identity in Early Georgian Britain’.• Kate Retford Senior Lecturer, Department of History of Art, Birkbeck, University of London: ‘Conversing in and with the Landscape: Edward Haytley’s Portraits of The Brockman Family at Beachborough’.• David Hansen Associate Professor, Centre for Art History &#38; Art Theory, Australian National University: ‘Skin and Bone: Surface and Substance in Anglo-Colonial Portraiture’.• Martin Myrone, Lead Curator, Pre-1800 British Art, Tate Britain, London ‘Portrait and Autograph: Art and Identity in the Age of Reform, c.1820–40’.• Anne Gray Emeritus Curator, National Gallery of Australia, Canberra ‘The Two Titans of Australian Portraiture: Roberts and Lambert’.Vendredi 9 septembreThe British Portrait and Europe• Mark Shepheard, University of Melbourne: ‘The Servile Drudgery of Copying Faces’: Batoni’s Italian Portraits through British Eyes’.• Callum Reid, University of Melbourne: ‘Driven by Glory’: British Self-Portraits in the Galleria degli Uffizi’.• Matthew Ducza, University of Melbourne: ‘Dutch and Flemish Art in Eighteenth-Century Britain: Its Influence on Sir Joshua Reynolds’.• Sophie Matthiesson, National Gallery of Victoria: ‘Joseph Highmore’s Portrait of David Le Marchand’.Portraits, Prints, and the Business of Art• Kathleen Kiernan, University of Melbourne: ‘Going…Going… Gone!: Portraits of Auctioneers and Printsellers in London, 1741–1800’.• Louise Box, University of Melbourne: ‘Into the Light: An ‘Unknown’ Mezzotint after Romney at the National Gallery of Victoria’.• Sue Russell, Independent scholar: ‘The Dealer as Artist: Robert Bragge’s Portrait of His Father, the Reverend Robert Bragge’.The Theatre of the Self• Jennifer Jones-O’Neill, Federation University: ‘Male Sensibility in Late Eighteenth-Century Portraits’.• Matthew Watts, University of Melbourne: ‘Reynolds’s Lady Frances Finch: The Female Form as a Site for Social Meaning’.• Matthew Martin, National Gallery of Victoria: ‘Fragile Identities: Eighteenth-Century British Portraits in Porcelain’.Portraits and Empire• Deirdre Coleman, University of MelbourneL ‘Susanna Gale: A Rose by Any Other Name’.• Kate Fullagar, Macquarie University: ‘Joshua Reynolds’s Portraits of Empire’.• Kim Clayton-Greene, University of Melbourne: ‘The Portrait of Queen Victoria in Colonial Victorian Print Culture’.Samedi 10 septembre Empathy• Angela Hesson, University of Melbourne: ‘Eighteenth-Century Portrait Miniatures as Love Tokens’.• Gillian Russell, University of Melbourne: ‘Emma Hamilton’s Performance Art: ‘Screening’ the Attitudes’.• Jennifer Milam, University of Sydney: ‘Sympathetic Understanding and Viewing Portraiture during the Enlightenment’.Artists and Sitters• Mark Ledbury, University of Sydney: ‘James Northcote’s Godwin: Friendship, Politics and Likeness in Radical London’.• Georgina Cole, National Art School, Sydney: ‘Blind Justice: Identity and Allegory in Nathaniel Hone’s Portraits of Sir John Fielding’.• Vivien Gaston, University of Melbourne and National Gallery of Victoria: ‘Artist, Actress, Lover: Zoffany’s Portrait of Elizabeth Farren, c.1780’.