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• 19 jui 2019

  20 jui 2019

  Den Haag

  Kolloquium - Neuere und Zeitgeschichte

  Frictions and friendships

  Cultural encounters in the nineteenth century

  The exhibition The Dutch in Paris, which was on show in the Van Gogh Museum, Amsterdam and in the Petit Palais, Paris during the fall of 2017 and spring of 2018 respectively, aimed to visualize the artistic exchange between Dutch and French artists between 1789 and 1914. As part of a larger research project, set up by the RKD – Netherlands Institute for Art History, the exhibition generated so much response that ESNA, in collaboration with the RKD and NWO, decided to organize an international conference on the subject, focusing specifically on international as well as national and local points of encounter and how they facilitated artistic exchange.

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• 13 déc 2014

  Den Haag

  Beitragsaufruf - Geschichte

  Friend or Foe: Art and the Market in the Nineteenth Century

  International conference organized by the European Society for Nineteenth-Century Art, the Netherlands Institute for Art History (RKD) and The Mesdag Collection, in conjunction with the exhibition on the artist, collector and gentleman-dealer Hendrik Willem Mesdag and the Dutch Watercolour Society, at The Mesdag Collection in The Hague, the publication on this illustrious artist and his different roles within the art world, and the digital reconstruction of the art collection owned by Mesdag, carried out by the Netherlands Institute for Art History.

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• 16 mar 2014

  Pistoia

  Beitragsaufruf - Darstellung

  Meyerbeer and French Grand opéra

  Organized in conjunction with the 150° anniversary of the death of Giacomo Meyerbeer, this conference aims to celebrate this composer as well as the development of French Grand opéra after 1831 (the year of Robert le diable). Meyerbeer’s theatrical production system estabilished a Grand opéra model in France and abroad that promoted the reputationy of Parisian productions. The Meyerbeerian standard was assimilated particularly in Germany and Italy; but it also provoked severe criticism, sometimes related to extra-operatic issues such as the composer’s Jewish origin.

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