Talks & Conversations

Middle Atlantic Symposium

56th Annual Sessions

Drew Lynch presents at the Middle Atlantic Symposium in the History of Art, March 2025

Since 1971 the National Gallery’s Center for Advanced Study in the Visual Arts has partnered with the department of art history and archaeology at the University of Maryland to present this annual symposium. The event brings together museum and academic communities and provides a platform for the latest research from graduate students in our region. 

Read the talk abstracts.

Morning session

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Welcome by Peter M. Lukehart, The Center, National Gallery of Art
Moderated by Tess Korobkin, University of Maryland

Chase Helein, American University 
“Cupid’s Palace: Giulio Romano’s Sala di Psiche Frescoes and the Palazzo Te as Courtly Sensorium”
Introduced by Kim Butler Wingfield

Flavia Barbarini, Temple University 
“The Primacy of Disegno and the Commodification of Drawings in 16th-Century Italy”
Introduced by Tracy Cooper

Ryan Foley, George Washington University 
“Longing for the Ghulāmān-e Farangī: European Youths in 17th-Century Safavid Painting”
Introduced by Mika Natif

Zoe Copeman, University of Maryland 
“Mis-Understanding the Anatomy of the Part: How One Image Rewrote the Mastectomy Procedure”
Introduced by Anthony Colantuono

Afternoon session

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Welcome and moderated by Kaira M. Cabañas, The Center, National Gallery of Art

Christine Kim Korkmaz, Johns Hopkins University
“A Victory in Silver: Architectural Representation and Imperial Symbolism Under Abdülhamid II (r. 1876–1909)”
Introduced by Ünver Rüstem

Weixin Zhou, University of North Carolina at Chapel Hill
“Rebuilding the City, Building Alternatives: Ideals, Tensions, and Politics in André Lurçat’s Reconstruction of Maubeuge”
Introduced by Eduardo de Jesús Douglas

Elnaz Latifpour, University of Virginia 
“Exceptions and Expectations: Pictorial Carpets and the Question of Authenticity in Southern Iranian Weaving”
Introduced by Amanda Phillips

Emily Shoyer, Bryn Mawr College 
“Isabel Katjavivi’s They Tried to Bury Us (2018) and the Environmental Impacts of German Colonialism in Namibia” 
Introduced by Lisa Saltzman

Related event

On the Past and Future of Indian Ocean Art History

Nancy Um, The Getty Research Institute

The symposium begins at 5:00 p.m. on Friday, March 6, at the University of Maryland, College Park, with the George Levitine Lecture delivered by Nancy Um, associate director for research and knowledge creation at the Getty Research Institute. The lecture is open to the public and organized by the University of Maryland.

Learn more

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The image shows a woman seated on a chair in a luxurious environment. She has fair skin, delicate features, and wavy light brown hair styled in a partial updo. She wears an elegant cream gown with a red overcoat lined in white fur. A maid holds a tray with a glass, a small loaf, and a gold pitcher, while the woman holds a silver platter. Next to the woman, there are ornate armor and weapons on the floor. A painting of a man in historical attire hangs on the wall. The room features wooden paneling and elegant furnishings.

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Two angular, cream-white buildings flanking a central, stylized tree are surrounded by brown soil, small animals, and farmhouse objects like watering cans and buckets beneath a clear, azure-blue sky in this square landscape painting. We look straight onto the buildings and slightly down onto the earth in front of us. About a third of the way up the composition, the horizon is lined with trees and mountains in the deep distance. The long, spindly branches of the central tree nearly reach the top edge of the painting and abstracted, sickle-shaped leaves are silhouetted against the sky so no leaves overlap. The far edge of the whitewashed structure to our left is cropped. The façade is pierced by two small rectangular windows and an arched hatch at the top under a winch. The back end of a horse is visible through an open door at the bottom center. Horizontal bands in front of the building suggest furrows in plowed earth, and a single stalk of corn grows up into the scene, seeming close to us. A pen protected by netting stretches out in front of the second structure, to our right of center. That wood-frame building has a triangular peaked roof, and the left half is open, like a lean-to. A goat, rooster, birds, and several rabbits occupy the pen. Watering cans, buckets and pails, a hoe, newspaper, lizard, and snail are spaced around the buildings. A tiny stylized person, perhaps a baby, appears in the distance between the buildings near a well where a woman works. A covered wagon, a round mill, trees, and plants fill the rest of the space between the buildings. A disk-like moon hangs in the sky to the right of the tree. The artist signed and dated the lower left corner, "Miro. 1921-22."

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Registration Required
Two angular, cream-white buildings flanking a central, stylized tree are surrounded by brown soil, small animals, and farmhouse objects like watering cans and buckets beneath a clear, azure-blue sky in this square landscape painting. We look straight onto the buildings and slightly down onto the earth in front of us. About a third of the way up the composition, the horizon is lined with trees and mountains in the deep distance. The long, spindly branches of the central tree nearly reach the top edge of the painting and abstracted, sickle-shaped leaves are silhouetted against the sky so no leaves overlap. The far edge of the whitewashed structure to our left is cropped. The façade is pierced by two small rectangular windows and an arched hatch at the top under a winch. The back end of a horse is visible through an open door at the bottom center. Horizontal bands in front of the building suggest furrows in plowed earth, and a single stalk of corn grows up into the scene, seeming close to us. A pen protected by netting stretches out in front of the second structure, to our right of center. That wood-frame building has a triangular peaked roof, and the left half is open, like a lean-to. A goat, rooster, birds, and several rabbits occupy the pen. Watering cans, buckets and pails, a hoe, newspaper, lizard, and snail are spaced around the buildings. A tiny stylized person, perhaps a baby, appears in the distance between the buildings near a well where a woman works. A covered wagon, a round mill, trees, and plants fill the rest of the space between the buildings. A disk-like moon hangs in the sky to the right of the tree. The artist signed and dated the lower left corner, "Miro. 1921-22."

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Registration Required