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[caption id="attachment_1264" align="aligncenter" width="500"] Pierre-Henri de Valenciennes, Paysage avec ruine, ca. 1782-1785, 41,91 x 57,15 cm, Los Angeles, LACMA.[/caption]Type : colloque.Date : 30 novembre et 1er décembre 2017.Lieu : Paul Mellon Centre for Studies in British Art, Londres.The pictorial representation of the landscape has long played an important role in the history of British art. It has been central to writers from Gilpin and Ruskin onwards, and was the subject of sustained scholarly attention in the 1980s and 1990s with the emergence of a social history of art. Writers such as John Barrell, Anne Bermingham, Stephen Daniels, Christiana Payne, Michael Rosenthal and David Solkin not only helped transform interpretations of British landscape painting, but made the study of such imagery seem essential to a proper understanding of British art itself.Over the past two decades the centre of gravity of British art studies has shifted. An imperial turn has characterized some of the most ambitious scholarship in the field; a raft of powerful new voices have shifted attention to the Victorian and modern periods, and to the imagery of urban life; and there has been a dramatic growth of interest in such topics as print culture, exhibition culture, and the material culture of the work of art. With these developments, existing approaches to the study of landscape pictures lost some of their urgency and relevance.However, this same period has seen the growth of a broader interest in landscape images in adjacent disciplines, driven in part by political and environmental imperatives. A newly energised category of ‘nature writing’, associated with authors such as Robert Mcfarlane and Helen MacDonald, has gained widespread currency beyond the purely academic arena. Cultural geographers such as David Matless and film-makers such as Patrick Keillor have offered nuanced investigations of the British landscape in their work, asking us to think afresh about its relationship to national identity, memory and post-imperial decline. And while many scholars in the humanities, in an age of globalisation and deepening ecological concern, have felt compelled to think about landscape on a vastly expanded basis, others have been driven to offer a new and suggestive focus on the local.The moment thus seems ripe for a major art-historical reassessment of the image of the British landscape, taking account these and other emergent concerns. This international conference, the third in an annual series organised collaboratively by the Paul Mellon Centre, the Yale Center for British Art, and the Huntington Library, Art Collections, and Botanical Gardens, is designed to offer an opportunity for such a reassessment.£20 Concession Rate (students and 60+) for 30 Nov and 1 Dec (ID is required on the day). £35 Standard Rate for 30 Nov and 1 Dec. NB: We are not selling tickets to individual days.ProgrammeJeudi 30 novembre 20179.30 Registration10.00 Introduction and Welcome – Mark Hallett (Director of Studies, Paul Mellon Centre), Amy Meyers (Director, Yale Center for British Art), and Steven Hindle (W.M. Keck Foundation Director of Research, The Huntington Library)10.30 Panel 1 | Local LandscapesChaired by Martin Postle (Deputy Director for Grants &#38; Publications, Paul Mellon Centre)• Anna Reid (PhD candidate, University of Northumbria), ‘The Nest of Wild Stones: Paul Nash’s Geological Realism’• Anna Falcini (Associate Lecturer in Contemporary Art Practice, Bath Spa University; Ph.D. Candidate in Fine Art Practice, University of the Creative Arts, Canterbury), ‘Re-illuminating the Landscape of the Hoo Peninsula through the Media of Film (the Porousness of Past &#38; Present)’11.30 Coffee Break12.00 Panel 2 | Colonial LandscapesChaired by Sarah Victoria Turner (Deputy Director for Research, Paul Mellon Centre)• Julia Lum (Doctoral Candidate, History of Art, Yale University), ‘Fire-stick Picturesque: Colonial Landscape Art in Tasmania’• Rosie Ibbotson (Lecturer in Art History and Theory, Te Whare Wānanga o Waitaha University of Canterbury, New Zealand), ‘The Image in the Imperial Anthropocene: Landscape Aesthetics and Environmental Violence in Colonial Aotearoa New Zealand’13.00 Lunch at the Paul Mellon Centre14.30 Panel 3 | Liquid LandscapesChaired by Steve Hindle (The Huntington Library)• Stephen Daniels (Professor Emertitus of Cultural Geography, University of Nottingham), ‘Liquid Landscape’• Kelly Presutti (Fellow at Dumbarton Oaks), ‘Strategic Seascapes: John Thomas Serres and the Royal Navy’• Gill Perry (Emeritus Professor of Art History, The Open University), ‘Landscaping Islands in Contemporary British Art: Floating Identities and Changing Climates’16.00 Tea Break16.30 Panel 4 | Landscape and the AnthropoceneChaired by Martin Myrone (Lead Curator, British Art to 1800, Tate Britain)• David Matless (Professor of Cultural Geography, University of Nottingham), ‘The Anthroposcenic: Landscape Imagery in Erosion Time’• Mark A. Cheetham (Professor of art history, University of Toronto), ‘Outside In: Reflections of British Landscape in the Long Anthropocene’17.30 Drinks Reception at the Paul Mellon CentreVendredi 1er décembre 201710.00 Keynote LectureChaired by Mark Hallett (Paul Mellon Centre)• Tim Barringer (Chair and Paul Mellon Professor of the History of Art, Yale University), ‘Thomas Cole and the White Atlantic’11.30 Coffee Break12.00 Panel 5 | Anglo-American LandscapesChaired by Scott Wilcox (Deputy Director for Collections, Yale Center for British Art)• Matthew Hunter (Associate Professor, Department of Art History and Communication Studies McGill University), ‘Drawing By Numbers: Anglo-American Landscape and the Actuarial Imagination’• Julia Sienkewicz (Assistant Professor of Art History, Roanoke College in Salem), ‘On Place and Displacement: Benjamin Henry Latrobe and the Immigrant Landscape’13.00 Lunch at the Paul Mellon Centre14.15 Panel 6 | Re-Making LandscapesChaired by Hammad Nasar (Senior Fellow, Paul Mellon Centre)• Val Williams (Professor of the History and Culture of Photography and Director of Photography and the Archive Research Centre (PARC), University of the Arts London, London College of Communication) and Corinne Silva (Research Fellow, PARC, University of the Arts London, London College of Communication), ‘The Re-making of the English Landscape: In the Footsteps of W.G. Hoskins and F.L. Attenborough’• Terry Perk (Interim Director of Research, Students, Associate Head of School of Fine Art and Photography, and Reader in Fine Art, University for the Creative Arts) and Julian Rowe (MA, visual artist), ‘Mapping the Apocalypse: Jonah Shepherd and the Kentish Landscape’13.15 Break15.30 Panel 7 | Exhibiting LandscapeChaired by Martina Droth (Deputy Director of Research and Curator of Sculpture, Yale Center for British Art)• Gregory Smith (Senior Research Fellow at the Paul Mellon Centre), The ‘Connoisseur’s Panorama’: Thomas Girtin’s Eidometroplis and a New Iconography for the City’• Nick Alfrey (Honorary Research Associate, Department of History of Art, University of Nottingham), ‘1973 and the Future of Landscape’16.30 Tea Break17.00 Panel 8 | Landscape Now ?• Mark Hallett (Paul Mellon Centre) Tim Barringer (Yale University)• Sarah Monks (Lecturer in Art History, Director of Admissions for School of Art, Media and American Studies, University of East Anglia)• Alexandra Harris (Professorial Fellow, Department of English, University of Birmingham)• Amy Concannon (Assistant Curator, British Art, 1790-1850, Tate Britain and Doctoral Candidate, University of Nottingham)