Celebrating Female Agency in the Arts - Christie's Education Symposium

Patronage Practices of Women, 1830-1930

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Features

Patronage is a relationship between those who support art and those who make it. Provenance has largely governed our understanding of patronage by identifying owners of art and object exchanges. However, provenance fails to account for how patrons learn about art, sustain a relationship with the art world, and support artists beyond a financial transaction. As a means of knowledge production and a relationship between people, patronage, especially women’s patronage of art in the early modern era, generally escaped visibility. In the nineteenth century in particular, provenance often inadvertently omitted the role of women’s patronage practices due to legislation that favored male ownership. Government censuses, too, rarely tracked the activities of women, leaving their engagement with the art world less understood. This panel foregrounds the dynamic ways women participated in the art world from the 1830s to the 1930s.  The time period surveyed here is bookended by the rise of print culture in the early nineteenth century and the proliferation of alternative modes of exhibition in the early twentieth century. Both cultural mediums expanded the avenues through which all people, but especially women could support art/artists as they widened the boundaries of the art world. 

 

Chair:
Sarah Mills

Speakers:
Leanne Zalewski
Emily Haraldson

Elodie Baillot
Kimberly Morse Jones

Course dates

Date:
June 26 - 27, 2018

Location:
Christie's New York
20 Rockefeller Plaza
New York, NY 10020

 

Sarah Mills, Ph.D. Candidate
CUNY, Adjunct Faculty, Christie’s Education NY

Sarah Mills received her M.Phil in Art History from the Graduate Center of the City University of New York and is presently working toward completion of her Ph.D. As a teaching fellow, she instructed courses on contemporary art at Hunter College and co-taught nineteenth- and twentieth-century architecture history at the Spitzer School of Architecture at City College. Sarah specializes in modern and contemporary design with a particular focus on gender, the everyday, and exhibition history. She has been a guest lecturer on topics of design, feminism and modern textile history.

 

Dr. Leanne Zalewski, Ph.D.
Associate Professor of Art History, Central Connecticut State University

Paper Title: Princess Mathilde: Salonnière, Cultural Impresario, Artist, Patron

Dr. Leanne Zalewski is an Associate Professor of Art History at Central Connecticut State University.  She earned her B.A. in art history from Barnard College, Columbia University, and her Ph.D. in art history from The Graduate Center, City University of New York. Her research focuses on American collections of European, primarily French, academic art and female artists and art patrons.  She recently published articles on the art collections of Thomas Jefferson in Journal of the History of Collections and William Henry Vanderbilt in Nineteenth-Century Art Worldwide. She is writing a book about early Gilded Age art collecting entitled French Art, American Patriotism: Collecting Culture in New York, 1867-1893. She has participated in numerous conferences on the subject of early Gilded Age art collecting, including the College Art Association conference in New York, Sotheby’s Institute of Art in London, and Radboud University in Nijmegen, The Netherlands. She has received grants her research from the Getty Research Institute, Huntington Library, and Center for the History of Collecting in America at the Frick Art Collection, among others. In the past, she has held positions at Doyle New York, a mid-size auction house, and Shepherd Gallery in New York, which provided her with first-hand experience in the art market.

 

Emily Haraldson
Art History Instructor, Glendale Community College

Paper Title: Bringing the Worldly to the Rural: The Art Collecting Practice, Philanthropy, and Patronage of Florence Bixby of Rancho Los Alamitos

Emily Haraldson is an instructor of art history on the tenure-track at Glendale Community College in Glendale, California. Her research interests include 20th-century  European and American Modernism, Contemporary Art, Feminist Art, and Political Visual Culture. As an instructor, she uses her classroom to shed light on social and  political issues found in historical and contemporary art alike. Connecting past and present forms of art and visual culture are at the root of her pedagogical practice. Going beyond the classroom, Ms. Haraldson also leads study abroad groups in Italy from her campus for an immersive course experience. As an active faculty member serving in a variety of roles both at Glendale College and for the Faculty Association of California Community Colleges, she is also an advocate for faculty and students in the California community college system.

Ms. Haraldson holds a M.A. with Distinction in Art History from California State University, Northridge and a Graduate Certificate in Curatorial and Museum Studies from California State University, Long Beach. Ms. Haraldson is the 2017 recipient of the Cottonwood Internship from the Rancho Los Alamitos Foundation in Long Beach, California. Her conference paper, “Bringing the Worldly to the Rural: The Art Collecting Practice, Philanthropy, and Patronage of Florence Bixby of Rancho Los Alamitos,” represents the culmination of her internship research.

 

Elodie Baillot, Ph.D. Candidate
Université Paris 1 Panthéon-Sorbonne 

Paper Title: Lady Charlotte Schreiber and her Spanish journeys : Collectors’ networks and Chinamania in Nineteenth-Century Europe

Elodie Baillot is a PhD candidate in Art History at Paris 1 Panthéon-Sorbonne University. Her PhD is entitled Réseaux de collectionneurs et enjeux de patrimonialisation en Europe au XIXe siècle : le Baron Davillier, le Comte de Valencia de Don Juan et Lady Charlotte Schreiber. In 2016 and 2017 she taught Museums and Heritage Studies and Artistic institutions at Paris 1 Panthéon-Sorbonne. She was awarded a scientific grant of the Casa de Veláquez in 2015 and 2016.

 

Kimberly Morse Jones, Ph.D.,
Associate Professor of Art History, Sweet Briar College

Paper Title: Elizabeth Robins Pennell and Judith Cladel as Artist “Crusaders”

Kimberly Morse Jones received her Ph.D. in the History of Art from the University of Reading in the UK. She is an Associate Professor of Art History at Sweet Briar College in central Virginia. Her research is focused on Victorian and Edwardian art criticism, in particular that produced by women. She has published several articles and book chapters, as well as a book, Elizabeth Robins Pennell: Nineteenth-Century Pioneer of Modern Art Criticism (Ashgate, 2015). She is currently working on another book project, Revolutionary Women: Art Criticism from La Fronde (1897-1906).

 
 
 
 
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