Participating Teams

We are very proud to announce the teams chosen to participate in the two-year Network Analysis + Digital Art History Workshop, generously funded by the funded by the Getty Foundation through its Digital Art History initiative.

For more information about the scope of the workshop, please visit the “About the Workshop” link above. Further details on the first convening, entitled “Digital Art History + Network Science Institute,” scheduled to take place from Monday, July 29–Friday, August 2, 2019, will be posted by late Spring for the project teams.

1. Project Cornelia

Project Cornelia is an ongoing research project developed at the History of Art Department of the University of Leuven (KU Leuven). The project aims to analyze the interplay between the dynamics of 17th-century Antwerp and Brussels creative communities and industries (zeroing in on painting and tapestry) on the one hand, and iconographic and stylistic developments on the other. They do so by collecting a wide array of attribution and relational archival data on the participants in these art worlds.

  • Koenraad Brosens, Research Professor, History of Art, University of Leuven
  • Inez De Prekel, PhD Student, History of Art, University of Leuven
  • Houda Lamqaddam, PhD Student, Computer Science/Digital Humanities, University of Leuven
  • Rudy Jos Beerens, PhD Student, History of Art, University of Leuven
  • Fred Truyen, Associate Professor, Literary Theory and Cultural Studies, Faculty of Arts, University of Leuven

2. Reframing Art: Opening up Art Dealers’ Archives to Multi-Disciplinary Research

“Reframing Art” is a multi-disciplinary research project centered on a collaboration between the Department of Digital Humanities at King’s College London and the National Gallery, funded by the Cultural Institute at King’s. The focus of this research is the relationship between the circulation of works of art and their archival information, and how scholars can explore and enhance those relationships by investigating the archives as multivariate networks of information. This team has so far established a proof of concept based on the stock books of Thos. Agnew and Sons (Agnew’s), London art dealers who handled significant European pictures including Velazquez’s Rokeby Venus and Rembrandt’s Nicolaes Ruts.

  • Stuart Dunn, Senior Lecturer in Digital Humanities, King’s College London
  • Alan Crookham, Research Centre Manager, National Gallery, London
  • Barbara Pezzini, Researcher, National Gallery, London
  • Valentina Vavassori, PhD candidate, King’s College London

3. Knowledge Practices between Judgement and Innovation: Experts and Building Expertise in Paris, 1690-1790

This multidisciplinary research aims to examine the key mechanism of expertise from a major economic sector–that of building in the early-modern-to-modern era. It seeks to understand how and why the technical and regulatory language of experts is essential to society, as well as how and why their technical competence is converted into authority, sometimes even into the “abuse of authority.” The work will focus on two parallel corpora: one, a prosopographic dictionary of 111 architects and 123 entrepreneurs working from 1690 to 1790 drawn from various sources (handwritten and printed); the other, the inventory and the analysis of the minutes of expertise over the same period.

  • Emmanuel Château-Dutier, Professeur adjoint (assistant professor), Art History, Université de Montréal (Centre de recherche interuniversitaire sur les humanités numériques; CRIHN)
  • Josselin Morvan, Ingénieur d’étude, Computer Science and Art History, Centre de théorie et d’analyse du droit (Centre national de la recherche scientifique; CNRS)
  • Robert Carvais, Directeur de recherche (research director), Historian of Law, Centre de théorie et d’analyse du droit CTAD (Centre national de la recherche scientifique; CNRS, UMR 7074)

4. Freer’s Photographs, Diaries, and Objects: Networking a National Collection

Pioneering 19th-century American collector of Asian art, Charles Lang Freer, traveled extensively in Asia and bequeathed his collection to the Smithsonian as the nation’s museum of Asian art. This project will examine key developments in the formation of a national museum using network analysis as a fulcrum. The team aims to investigate how Freer’s travel routes and the photographs he collected differentiated him from the other contemporaneous collectors interested in the Near East and India. By overlaying this information with his diary entries and object purchase records, they will focus their work on understanding how Freer’s firsthand engagement with the region impacted his aesthetic taste and collecting priorities.

  • Nancy Micklewright, Head, Public and Scholarly Engagement, Freer|Sackler, Smithsonian Institution
  • Sana Mirza, Education Specialist, Freer|Sackler, Smithsonian Institution
  • Zeynep Simavi, Program Specialist, Freer|Sackler, Smithsonian Institution
  • Jeffrey Smith, Assistant Registrar for Collections Information, Freer|Sackler, Smithsonian Institution

5. The Chinese Iconography Thesaurus

The Chinese Iconography Thesaurus is a structural bilingual (Chinese-English) thesaurus with a core vocabulary comprising ca. 8,000-10,000 Chinese concepts. The main body of terms is being extracted from key pre-1900 Chinese sources, especially from the titles inscribed on the religious and secular paintings in the imperial collection formed by the Qianlong Emperor (r. 1735-1796). The list of the sources also includes widely referenced taxonomies, dictionaries and encyclopaedias, such as ICONCLASS, the Getty’s Art and Architecture Thesaurus, and the National Palace Museum Taipei Subject Codes. During this workshop, the project team will focus their work on the production of insightful analytical results of this data through network methods, seeking results that, by combining iconography and network analysis, will contribute novel approaches to the study Chinese art.

  • Hongxing Zhang, Senior Curator, Victoria & Albert Museum
  • Jin Gao, Project Coordinator and Data Standard Editor, Victoria & Albert Museum
  • Etienne Posthumus, Digital Publishing Specialist, Brill Publishing

6. Mapping Exhibition Networks: Current Histories of Biennales

This research project surveys current exhibition networks, aiming towards digital literacy of a significant data corpus of biennales. The network analysis of this data will give insights about discourses on exhibited works of art [such as grouping and sequences of media/material/titles/artist names, and general themes], curatorial teams, funding bodies, communications, as well as exhibition reception and exhibition aesthetics. In order to delve into network relationships in a large scale, the team will explore actor-networks using network visualization and analysis to explore and comprehend current histories of biennales.

  • Anne Luther, Research Associate, Translocations Cluster, Department of Modern Art History, Institute of Art History and Historical Urban Studies, Technische Universität Berlin
  • Eleonora Vratskidou, Visiting Professor of Art History, Department of Modern Art History, Institute of Art History and Historical Urban Studies, Technische Universität Berlin
  • Ji Young Park, Research Associate, Translocations Cluster, Department of Modern Art History, Institute of Art History and Historical Urban Studies, Technische Universität Berlin
  • William Diakité, PhD Student, Université de Rennes 2

7. Modeling Networks of Artistic Contact in French Gothic Manuscripts, 1260-1320

Between 1260 and 1320, a distinctly French approach to manuscript illumination reached its pinnacle in works produced for royal and aristocratic patrons in Paris. Scholarship on these manuscripts and the workshops that produced them, however, has not yet fully contextualized them with regard to contemporaneous developments on the peripheries of the region. This project adopts a network-based approach to contextualizing trends in metropolitan and provincial French manuscript workshops. It utilizes the structured data published in a four volume catalog of manuscripts produced in Gothic France, researched and written by Alison Stones over the course of decades.

  • Maeve Doyle, Assistant Professor of Art History, Eastern Connecticut State University
  • Alex Brey, Research Associate, Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, D.C.