Discovering the Italian Trecento in the 19th Century

Introduction: Adriana Turpin, Academic Director, Institut d'Etudes Supérieures des Arts

Welcome to the Wallace Collection: Jeremy Warren, Director of Collections and Academic Curator of Sculpture, Works of Art and the History of the Collection, Wallace Collection

The Promotion of the Trecento through Writing

 'Cutting the Gordian knot: women writers and the "rediscovery" of the Primitives' – Dr Caroline Palmer, Ashmolean Museum, Oxford

 '"...a monument of the spirit of the early artists...": the first monograph on Giotto’s Arena Chapel' – Carly Collier, PhD candidate, University of Warwick

'Women artists at the British School at Rome and the Italian Trecento' – Dr Lyrica Taylor, Azusa Pacific University, California

'Etienne Evariste Fouret (1807-1863), a French collector, amateur and connoisseur of Trecento paintings' – Corentin Dury, École du Louvre, Paris

Discussion

End of morning session and lunch break (lunch not provided)

Disseminating Information about Trecento Art in the 19th Century

'"Ideal and spiritual": the Arundel Society and the Trecento' – Dr Tanya Harrod, independent historian

'Le Campora, 1908: discovering a Trecento fresco cycle and early pioneering photographic campaigns' – Dr Laura Fenelli, Università degli Studi, Bologna

'Casting the Pisani: The Cast Court at the South Kensington Museum and its loans programme to the regions' – Dr Rebecca Wade, University of Leeds

Discussion

Tea/coffee

Dealing in Trecento Art During the 19th Century

'Primitive art and curious objects: mid-19th-century antique and curiosity dealers and the trade in early Italian art in Britain' – Dr Mark Westgarth, University of Leeds

'American collecting, Stefano Bardini and the art of supply in late-19th-century Florence' – Dr Lynn Catterson, Columbia University

Full panel discussion: chaired by Caroline Elam, with Professor Martin McLaughlin, Dr Hans Bloemsma and Dr Louise Bourdua

 End of Conference Day Two