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On Mondays, every 2 weeks, 2-4 PM, Seminar Room of the Institut d’Histoire moderne et contemporaine (IIHMC). -45 rue d’Ulm, Paris, Stair D, last floor.

All the sessions will also take place online. Please register here, to get access to the meeting links and passwords.

Coordination: Léa Saint-Raymond (ENS-PSL), in collaboration with Béatrice Joyeux-Prunel (Unige) and Catherine Dossin (Purdue University)

Within the framework of the Artl@s project, founded in 2009 by Béatrice Joyeux-Prunel, this annual seminar aims at analyzing the logics of artistic and visual globalization. After exploring the Arab world, the Southern Biennials and Asia, it will study artistic circulations in, from and to Northern Europe in the contemporary era, thanks to the invitation of specialists – researchers and curators. The seminar will take place on Mondays, every two weeks, and will alternate between two types of sessions: guest sessions and the “Artl@s Lab”, which will allow students to familiarize themselves with digital cartography in art history, and with BasArt – a digital database of catalogs of living art exhibitions and fairs since the end of the 19th century, with a cartographic and statistical interface. The seminars are part of a more general activity of international colloquia and publications, notably via the Artl@s-Bulletin (a multilingual, peer-reviewed journal).

The seminar can be validated within the framework of the PSL “Transnational History” and “Digital Humanities” masters programs (ENC-ENS). Integrated in the models of the ATP Masters in Transnational History, it allows for the DENS to validate “collective research experience” type validations.

September 28, 2020: Memories of Defeat: the circulation of monuments in and beyond Europe (Nicholas Parkinson, Mads Øvlisen Postdoctoral Fellow, Ny Carlsberg Glyptotek, Copenhagen)

This presentation addresses the challenge that nationalist memory politics has posed to European and American societies in modern history through a study of the global influence of Antonin Mercié’s Gloria Victis (c. 1873) on the practice of erecting monuments to defeat. Originally created as a monument to the loss of the Franco-Prussian War, Gloria Victis widely inspired the visual language of commemorating defeat at the turn-of-the-twentieth century, influencing monuments dedicated to events including Denmark’s Second Schleswig War, the US Civil War, the First Serbian Uprising, and the Second Boer War. Today, the symbolism of Gloria Victis has reemerged as a powerful symbol in Eastern Europe’s post-Soviet memory wars, especially within the propaganda of the populist Right. In 2006, future-PM Viktor Orbán of Hungary’s right-wing Fidesz party officiated the unveiling of Csömör’s monument to the international victims of Communism, Gloria Victis. This presentation therefore aims to trace the history of “Gloria Victis” symbols in public spaces as a means of better understanding the problem of nationalist pseudo-histories and Lost Cause narratives in public discourse today.

Nicholas Parkinson is a Novo Nordisk Mads Øvlisen Postdoctoral Fellow at the Ny Carlsberg Glyptotek in Copenhagen, Denmark, whose research examines the influence of politics and institutions on shaping art historical knowledge. His upcoming article “‘The Rayonnement of our Ideals’: French, German, and Nordic Painting in fin-de-siècle France,” will appear in the multi-author publication Mapping Impressionist Painting in Transnational Contexts (Emily Burns & Alice Price, eds) in 2021.

More information soon. Registration


October 12, 2020: Artl@s Lab

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October 26, 2020: Sublime North. Peder Balke and the Romantic Image of the North (Dr. Knut Ljøgodt, Nordic Institute of Art)

The North –Ultima Thule– has for centuries been regarded as remote and mysterious place of danger. In for example old maps, it is depicted as surrounded by monsters and other horrors. The proto-Romantics and Romantics of the 18thand 19thcentury seem to have had a particular fascination for the North, sparkled by the cultivation of the sublime in nature as an aesthetic ideal.

The Norwegian painter Peder Balke was one of the first artists who ventured to the Northernmost parts of Scandinavia. In 1832 he set out on a journey that took him above the Arctic circle, all the way to the North Cape. The image of the desolate, Arctic nature came to haunt the artist for the rest of his life. Balke later studied with his fellow Norwegian, Johan Christian Dahl, in Dresden, where he also was impressed by the paintings of the German Romantic Caspar David Friedrich. A stay in Paris in the 1840s lead to an important commission from Louis-Philippe, King of the French.

Balke’s ideas of the Northern nature was formed by European Romanticism, but eventually he developed his own, highly experimental manner of depicting this landscape


Biography : Dr Knut Ljøgodt is a Norwegian art historian and the director of Nordic Institute of Art. He studied art history at the University of Oslo, Courtauld Institute of Art, London and Istituto di Norvegia in Roma. Dr Ljøgodt has been a curator in the National Gallery, Oslo, director of Northern Norway Art Museum, Tromsø, as well as founding director of Kunsthall Svalbard in Spitzbergen in the Arctic.

Knut Ljøgodt is a scholar on Scandinavian and European 19thcentury art, including Nordic Romantic landscape painting. He has published extensively within this field, and has curated and co-curated a number of exhibitions, including Peder Balke(National Gallery, London 2014), Histories: Three Generations of Sámi Artists(Queen’s Gallery, Royal Palace, Oslo 2018), andEdward Burne-Jones: The Pre-Raphaelites and the North(Prins Eugens Waldemarsudde, Stockholm 2019 and KODE Art Museums and Composer Homers, Bergen 2020). Ljøgodt’s latest publication is Peder Balke: Sublime North (Skira, Milan 2020), and he is presently working on the catalogue raisonné of this artist.


November 9, 2020: Savoir bien bâtir : les réseaux franco-suédois dans le milieu de la construction (XVIIe-XVIIIe siècle). (Linnéa R. Tilly, ENSA Paris la Villette )

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November 23, 2020: Circulation of artists between Stockholm and Paris around 1700 (Linda Hinners, Nationalmuseum, Stockholm)


The paper treats French sculptors and painters active around 1700 at the building project of the Royal Palace of Stockholm. They were recruited from Paris by the architect Nicodemus Tessin the Younger (1654-1728),  assisted by his  “agent” in Paris , the diplomatic envoy  Daniel Cronström (1655-1719). My research focused on the craftsmen’s French background as well as their journey and stay in Stockholm.  Through detailed archival studies it was possible to clarify heir professional roles within a social context.

In France these artists were still part of the guild system. These sculptors, painters, casters, gold-smiths, gilders are better described as  artisans (“ouvriers”) rather than “artists” in the modern sense of the word ( i.e. great individual creators of original works of art).  None of them were members of the Académie Royale de Peinture et de Sculpture but however they worked for the Bâtiments du Roi at some of the greatest royal building projects at the time, such as the Trianon and the Invalides. Thus, they were both dependent of an old tradition (the Guild), where the collective work in the workshop was important,  and involved in modern organization and a process changing the conception of the role of  the artist. In my research I studied the Frenchmen’s working conditions, the organization of the work and their status within these professions at this time. To a large extent it is a study about the social identity of the craftsmen/artist and the opportunities they had to influence and develop this at a time when a modern artist’s role is not yet established. My conclusion was that the French artists/artisans, a very homogenous group, played an important role in the reorganization of the Swedish royal and public building projects.  Besides, in Sweden they had a possibility to improve their career by more demanding commissions. They all enjoyed royal pensions, which they had not had in France. Thus, questions open in turn to larger themes in the field of the early modern artist’s professional roles, possible work and career paths, and  work organization in relation to the societal context in which they appeared in.

The artisans who travelled to Sweden in the 1690’s constituted of a group of 15 sculptors, painters and founders, and were often accompanied by family-members. The mobility of these artists/artisans is both geographical and social. By travelling to Sweden these artists wished to improve their professional and economical status.  At the same time,  by recruiting French specialized courtly craftsmen, the Swedish patron (the King through Tessin) wished to manifest the political power by conspicuous consumption. Inspired by the way that the Bâtiments du Roi organized all state building projects, a similar centralized organization was created in Sweden, Överintendentsämbetet, with Tessin as the first “Surintendant” in 1697. The idea of this state art patronage was to transfer the artistic and cultural know-how of the French to the Swedes, thus a form of art mercantilism.


Linda Hinners is senior curator at Nationalmuseum in Stockholm, specialized in sculpture. She has curated various exhibitions, for example on Auguste Rodin and the Nordic countries in 2015 (collaboration with Ateneum Art Museum, Helsinki). Her doctoral thesis dealt with French decorative artists who worked at the Royal Palace in Stockholm ca 1700. Hinners is currently directing a project concerning Nordic women sculptors which will result in an exhibition and a publication.


De fransöske hantwerkarna på Stockholms Slott 1693-1713. Yrkesroller Organisation Arbetsprocesser. Doctoral thesis, with an English Summary, Stockholm 2012

The Gallery of Charles XI at the Royal Palace of Stockhom – in Perspective. Eds Linda Hinners, Martin Olin, Margaretha Rossholm Lagerlöf (Stockholm, 2016)

Rodin. Auguste Rodin (1840-1917) and the Nordic Countries Editor in chief Linda Hinners, coeditors: Antoinette Le Normand-Romain, Timo Huusko, Liisa Lindgren, Ingrid Lindell, Janna Herder (In conjonction with the exhibition ”Rodin” Nationalmuseum at Konstakademien, Stockholm 1 October 2015-10 January 2106/Finnish National Gallery, Helsinki 5 February – 8 May 2016


Linda Hinners et Antoinette Le Normand-Romain, ”La Terre au lieu de La Médiation. Découverte d’un plâtre de Rodin au Nationalmuseum de Stockholm », in Revue de l’Art, N 208/2020-2, pp. 55-65

“Rodin, Vigeland and Sweden” in Vigeland, Skulpturens kraft och känsla, ed Patrik Steorn, Thielska Galleriet, Stockholm 2019, pp. 28-34

Dorothea Diemer/Linda Hinners : “Gerhardt Meyer made me in Stockholm”  : a bronze”Bathing woman” after Giambologna.
in The Burlington magazine, Volume 160, number 1384 (July 2018), p. 545-553

« Bourdelle et la Suède » in Transmission/Transgression – Maîtres et élèves dans l’atelier: Rodin, Bourdelle, Giacometti, Richier. Musee Bourdelle , sous la direction de Claire Boisseroles, Stéphane Ferrand et Amélie Simier, Paris 2018, pp. 138-140

Linda Hinners and  Martin Olin “Les Appartements royaux du Chateau de Stockholm » in Versailles et l’Europe (Detsches Forum fur Kunstgeschiste, dir. Thomas W Gaethgens, Frédéric Bussman and Christophe Henry, Heidelberg :, pp. 668-692.

“From mobility to stability and a new mobility. French. The Flow of Sculptors to and from Sweden from the Late Seventeenth to the early Nineteenth century”, in Sculpture and the Nordic Region, eds. Sara Ayres and Elettra Carbone, Ashgate (2016)

“The foundry at the Hippodrome. A French foundry for monumental sculpture in Stockholm around 1700”, publication of the symposium French Bronze Sculpture: materials and techniques16th – 18th century, ed. David Bourgarit, Jane Bassett, Francesca G. Bewer, Geneviève Bresc-Bautier, Philippe Malgouyres, and Guilhem Scherf, Archetype 2014

Paris à Stockholm, des échanges franco-suédois de la fin XVIIe au milieu du XVIIIe siècle. Linda Hinners, Anne-Sophie Michel, Linnéa Rollenhagen-Tilly in Bulletin de la Société de Paris et de l’Ile de France, Paris 2014

“Specialist Skills in the Workshop of French Ornamental Sculptors at the Royal Palace of Stockholm, ca 1700” in Questions d’ornements (XVe-XVIIIe s.) Namur (FUNDP, décembre 2009), Louvain-la-Neuve (UCL, février 2011) et Bruxelles (IRPA, février 2012), sous la dir. de Ralph Dekoninck, Caroline Heering et Michel Lefftz Brepols 2013

« La décoration de la Grande galerie du Château Royal de Stockholm » dans Actes de Colloque « La galerie des Glaces après sa restauration, XXVIes Rencontres de l’École du Louvre et Musée national du château de Versailles. 16-17 October 2008, Eds, Nathalie Volle,  Nicholas Milovanovic, Paris 2013.


. Registration

December 7, 2020: Développements et mutations de la réception critique des artistes suédois à Paris dans les années 1880 (Tanguy Le Roux, Sorbonne Université)


Durant les années 1880, la réception critique des artistes scandinaves en France évolue sensiblement, devenant plus positive, plus développée et plus élaborée. En s’intéressant plus particulièrement à la réception des artistes suédois, cette communication visera à souligner et commenter plusieurs aspects de ces évolutions en recourant à un large corpus de critiques extraites de journaux et revues contemporaines.

Tanguy Le Roux a débuté ses recherches avec un master consacré à l’étude de la section suédoise à l’exposition universelle de 1889 à partir des sources françaises et suédoises. Ces recherches se sont ensuite étendues à la décennies 1880 et aux artistes scandinaves et finlandais, avec toujours un intérêt plus particulier pour la réception critique des artistes issus de ces pays. Il est aujourd’hui assistant de conservation du patrimoine.

Publication :

LE ROUX Tanguy, « L’apparition de l’École du Nord. L’émergence des artistes scandinaves dans la critique d’art française dans les années 1880 », in Deshima, n° 12, 2018, p. 155-170.

January 18, 2021: [To be announced] (Carl Johan Olsson, Nationalmuseum, Stockholm)

More information soon. Registration

February 1, 2021: Artl@s Lab

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February 15, 2021: Patterns of Swedish artistic mobility in the early 20th century (Jessica Shöholm Skrubbe, Stockholm University)


This paper presents preliminary results from an empirical study that investigated and documented transnational connections of c. 700 Swedish artist born between 1875 and 1895, i.e. artists whose professional careers coincided with what has been described as the modernist breakthrough in Swedish art. This quantitative study evidence the extent to which artistic life was permeated by travel and transnational exchange and reveals clear patterns of Swedish artistic mobility in the early 20thcentury, but also indicates different forms of and reasons for mobility (artistic training, professional appointments and collaborations, seasonal migration, voluntary exile, et cetera). The data collected documents travels to and/or exhibitions in nearly 60 different countries on all continents. Unsurprisingly, next to 70 percent of the artists travelled to, or through, Paris and/or France. However, transnational mobility within Europe was almost as strongly directed towards Denmark, Germany and Italy. Transcontinental mobility was particularly prominent in relation the US and North Africa.

Due to the strong focus in Swedish art historiography on Paris as a compulsory passage point for aspiring modern artists, these diverse travelling patterns—and thus presumably also professional networks and artistic practices—have been overlooked or reduced to marginal episodes of lesser interest, despite the fact that many artists travelled widely. Empirical research conducted with quantitative methods contradict the established history of Swedish modern art and call for critical revisions. Without questioning the importance of Paris as an artistic node, the paper reflects upon the discrepancy between dominant tropes in art history and the decidedly varied transnational connections of Swedish modern artists. It also address the possibilities and limitations with the quantitative research method as such.

March 1, 2021: Artl@s Lab

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March 15, 2021: [To be announced] (Marja Lahelma, University of Helsinki)

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March 29, 2021: Artl@s Lab

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April 12, 2021: “L’oeuvre ouverte”. Technologie et matérialité du tableau en Europe du Nord au XVIIe siècle : procédés, transferts et correspondances artistiques (Charlotte Nadelman, Université Paris I Panthéon-Sorbonne)

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Le tableau intéresse tout autant l’histoire de l’art – il est un objet replacé et étudié dans son contexte d’origine et en rapport d’une production contemporaine ; la conservation, préservation et restauration des biens culturels – lieu d’appréciation technologique et de sauvegarde de l’objet ; enfin le champ de l’esthétique – cadre de réception philosophique. Il est également éminemment intéressant d’appréhender cet objet singulier à la lumière de l’anthropologie, à savoir – ce que les hommes ont dans la tête, ce à quoi ils pensent et ressentent lorsqu’ils agissent techniquement. Selon cette dernière définition, notre artefact devient un lieu de questionnement primordial : l’objet y fait sens à mesure du processus créatif qui l’a rendu possible, terrain favorable à l’enrichissement de nos connaissances à son sujet.

En guise de dialogue avec la thématique des circulations en Europe du nord portée par ce séminaire, et en cohérence avec les premiers déploiements engagés dans le cadre de ma thèse, Charlotte Nadelman a souhaité rendre compte à la manière d’un relevé scientifique, d’une série de caractéristiques technologiques propres à chacune des trois œuvres de mon corpus XVIIème. Cette enquête inclut une réflexion portant sur les différentes étapes de conception puis de création, en contextualisant chaque fois que cela sera possible l’œuvre dans ce qu’elle a choisi d’appeler son lieu et sa chaîne de production. De cette confrontation entre l’emploi de procédés artistiques singuliers d’une part, au gré des influences et rencontres tacites des artistes selon une géographie commune d’autre part, émergent les linéaments d’un art nourri d’interpénétrations culturelles.

Biographie : Doctorante sous la direction du Professeur Thierry Lalot en charge de l’unité de conservation restauration des biens culturels à l’Université Paris 1 Panthéon-Sorbonne, et de M. William Whitney, responsable du Master Histoire et Technologie de l’Art et de la Restauration, Charlotte Nadelman réfléchit dans le cadre de sa thèse à la formulation de modules pédagogiques pour un enseignement de l’histoire de l’art orienté autour de la matérialité et de cadres d’expérimentation, à l’appui d’un corpus de trois peintures émanant du XVIIe siècle hollandais et flamand. Elle s’intéresse par ailleurs à l’articulation didactique de discours théoriques fondamentaux d’histoire de l’art, afin de les rendre plus accessibles auprès des jeunes publics.

Depuis janvier 2020, Charlotte Nadelman est par ailleurs chargée d’enseignement contractuelle au sein de l’équipe pédagogique de Licence 3 du Centre d’art et d’archéologie Michelet de l’Université Paris 1 Panthéon-Sorbonne, dans le cadre de cours portant sur le “Faire” et les savoir-faire artistiques et artisanaux. En parallèle de cette mission, elle est chargée de missions art et culture , et propose un accompagnement scientifique et opérationnel à des acteurs institutionnels et privés, dans le cadre du déploiement de leurs projets d’expositions, et projets culturels.

Juin 2020. Participation au Printemps de la Recherche en Éducation 2020 – Thématique : “Les arts et les savoirs fondamentaux : Enjeux de formation” organisé par le réseau des Instituts Nationaux Supérieurs du Professorat et de l’Éducation (INSPE) – présentation au format distanciel (vidéo). Poster sélectionné pour la phase finale : L’histoire de l’art au service de la ré-conciliation sensible de l’enfant : Enjeux et ressorts pédagogiques d’une approche expérimentale dès le premier cycle.

Février 2020. Participation à la séance inaugurale du séminaire doctoral de l’Atelier du CHAR 2020 –  “Saintes, tentatrices et sorcières : la femme et le mal” – Université Paris 1 Panthéon-Sorbonne : L’enlèvement de Proserpine par Rembrandt van Rijn : La violence incarnée.

May 3, 2021: Artl@s Lab

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May 17-18, 2021: Symposium “Paris as key junction in the Swedish-Baltic Realm”, Swedish Institute

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May 31, 2021: Artl@s Lab

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June 14, 2021: [To be announced] (Marta Edling and Annika Öhrner, Södertörn University, Stockholm)

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