• The role played by Roman and Italian artists and architects in the formation and structuring of the 18th-century British art academies and, in particular, of the Royal Academy of Arts.
• The presence and activities of British artists and architects in Roman studios, offices and academies and the presence of Italian artists in British academies.
If past scholarship has concentrated mainly on the activities of British artists while in Rome, this conference wishes to address the process of intellectual migration, adaptation and reinterpretation of academic, theoretical and pedagogical principles from Rome back into 18th- century Britain.
It responds to the rise of intellectual history, building on prevalent trends in the genealogy of knowledge and the history of disciplines, as well as the mobility and exchange of ideas and cultural translation across borders.
Stylistic eclecticism and practical application are the hallmarks of much Roman art.
Pliny, Ancient Rome's most important historian concerning the arts, recorded that nearly all the forms of art – sculpture, landscape, portrait painting, even genre painting – were advanced in Greek times, and in some cases, more advanced than in Rome.Send your proposal, with a current CV of no more than two pages, to [email protected] must be received by midnight, Monday 12 March 2018.Speakers will be notified of the committee’s decision in mid-April 2018. The Accademia Nazionale di San Luca, the Capitoline Accademia del Nudo, the Concorsi Clementini, and numerous studios and offices, provided a network of institutions and a whole theoretical and educational model for the relatively young British art world, which was still striving to create its own modern system for the arts.Reverberations of the Roman academy system were felt back in Britain through initiatives in London such as the Great Queen Street Academy, the Duke of Richmond’s Academy, the Saint Martin’s Lane Academy and the Royal Society of Arts.The two forms have had very contrasting rates of survival, with a very large body of sculpture surviving from about the 1st century BC onward, though very little from before, but very little painting at all remains, and probably nothing that a contemporary would have considered to be of the highest quality.Ancient Roman pottery was not a luxury product, but a vast production of "fine wares" in terra sigillata were decorated with reliefs that reflected the latest taste, and provided a large group in society with stylish objects at what was evidently an affordable price.The Accademia Nazionale di San Luca and the British School at Rome (Rome, 10-11 December 2018) CALL FOR PAPERS The Accademia Nazionale di San Luca and the British School at Rome (BSR) invite submissions for papers for the conference , to be held in Rome between 10 and 11 December 2018.The conference will focus on the role of the Roman pedagogical model in the formation of the British academic art world in the long 18th century.But it was a broader national phenomenon too, inspiring the likes of the Foulis Academy in Glasgow and the Liverpool Society of Artists.The foundation of the Royal Academy of Arts in London in 1768 officially sanctioned the affirmation of the Roman model.