What is Connoisseurship?

August 17–23, 2008

This workshop focused on connoisseurship exploring the following areas definition, method, transcription, legitimacy, service (as profit versus investment), and historiography. The aim was to gain an overview of the issues and problems in the field, of the historiography of connoisseurship, and to discuss particular personalities and approaches that have interest and relevance today.

Program

In order of discussion


The Individual Connoisseur and his Role in the Social-Cultural World of Art
Catherine Scallen

The Strategies of Connoisseurship: From the Market to Art History; the Case of Le Brun
Olivier Bonfait

Morelli’s “Scientific” Method and Responses
Madeline Lennon

Connoisseurship and Ancient Art: The Increasing Role of Scientific Analysis
Ilaria Romeo

Looking at Words, Reading Style. Connoisseurship, Sight and Writing
Guillaume Cassegrain

The Hans van Meegeren Forgeries and the Specter of the Connoisseur's Blind Spot
Peter Parshall

Connoisseurship and the Discourse of Ethnicity
Jean-Marie Guillouët

Connoisseurship and Conservation—Technology and Possibility
Philippe Bordes

Connoisseurship and Contemporary Art Practices
Elvan Zabunyan

Connoisseurship and Outsider Art
Thomas Röskev
 

Participants included


Philippe BordesInstitut national d'histoire de l'art, Paris, France
Olivier BonfaitUniversité d’Aix en Provence, France
Guillaume CassegrainUniversité Lyon 2, France
Jean-Marie GuillouëtSaint-Denis, France
Madeline LennonUniversity of Western Ontario, Canada
Richard NeerThe University of Chicago
Peter ParshallNational Gallery of Art
Thomas RöskePrinzhorn Collection, University Psychiatric Clinic, Germany
Ilaria RomeoUniversità degli Studi di Lecce, Italy
Catherine Scallen, Case Western Reserve University
Elvan ZabunyanParis, France