- 1.Introduction – One year on Women and their Global Circulation (B. Joyeux-Prunel & L. Saint-Raymond)
- 2.Sabrina Moura : « On returns, exiles and belongings: the notion of diaspora through the work of Maria Magdalena Campos-Pons”
- 3.Women in the Artl@s Databases (Béatrice Joyeux-Prunel)
- 4.Around Ana Mendieta. With Esther Ferrer and Shelley Rice. November 8, 1:30 PM!!
- 5.Artists’ Widows and the posthumous lives of works (1945-1980) – Julie Verlaine
- 6.Séverine Sofio: Artists, gender and borders at the turn of the 19th c.
- 7.Artl@s’Lab : Tracing women in international exhibitions (B. Joyeux-Prunel)
- 8.January 10, 2019 – LAB: How to study the international circulation of women artists? Women in the Artl@s catalogue database (B. Joyeux-Prunel & Léa Saint-Raymond))
- 9.24 January 2019 – LAB: Geomapping the international circulations of women artists (B. Joyeux-Prunel)
- 10.February 7, 2019. Japanese Catalogues and Art History. An encounter with Pr. Torahiko Terada and his students from Tokyo University
- 11.February 28, 2019 – LAB- Semantic Description of Catalogues (with Richard Walter)
- 12.March 21, 2019. Are the pioneers women of contemporary art in Turkey more globalized than their male peers? (Perin Emel Yavuz)
- 13.Aphrodite-Vénus, ‘art femme par excellence’ (K. Bender)
- 14.Presentation of students’ work
- 15.CANCELED: Race, Ethnicity, Empathy. Radical Women. Latin American Art, 1960-1985 (Andrea GIUNTA)
- 16.the Union des Femmes Peintre et Sculpteurs (Catherine Gonnard)
Sophie Taeuber-Arp, Nelly Van Doesburg, Jean Arp et Sonia Delaunay à Grasse, vers 1942. Fonds Delaunay, Bibl. Kandinsky.
Remarkable but often criticized figures, and always forgotten in the great account of the life of the “genius” with whom they met, artists’ widows nevertheless play a fundamental role in the posthumous history of the works, in terms of visibility, reputation and transmission. Based on a small group strongly identified in the history of art and its market – the widows of abstract artists who died before or during the Second World War – our survey allowed us to discover their archives, often unpublished, dispersed and allowed us to understand their role, on the art market, in the elaboration of the first stories of abstraction, but also when bringing these works into the museum through purchases, donations or bequests.
Julie Verlaine is Maître de Conférences at the Université Paris 1 Panthéon Sorbonne. She specialized in the history of the art market and women gallerist in 20th C.
Among her publications: Daniel Templon, une histoire d’art contemporain, Paris, Flammarion, 2016, 413 p.; Femmes collectionneuses d’art et mécènes, de 1880 à nos jours, Paris, Hazan, 2014, 288 p.; Les Galeries d’art contemporain à Paris. Une histoire culturelle du marché de l’art, 1944-1970, Paris, Publications de la Sorbonne, 2012, 586 p.
Personal page on website of Centre d’Histoire sociale du XXe siècle.
Thursday, November 29, 2018, in the IHMC room, 45 Rue d’Ulm (staircase D, 4th floor), from 1:30 pm to 3:30 pm.