Back from Rome: a look back at a successful conference
On September 30 and October 1, 2025, Musea Brugge, together with the Academia Belgica, brought together more than fifty speakers and participants from all over Europe, the United States, and Canada during the international conference '(Re)searching connections: Artists’ international social networks, 1750–1914' in Rome. With this conference, Musea Brugge positions itself as an active player in the research field of 19th-century artists' mobility.
Globally Connected
During this two-day conference within the framework of Apprentice-Master II: The allure of going abroad, supported by the Flemish government, researchers from institutions such as the Museum Plantin-Moretus, the Royal Library of Belgium, the University of Helsinki, and the École du Louvre presented their recent and ongoing research.
The paper presentations, selected through an open call for papers, were complemented by fascinating keynotes from three experts: France Nerlich (Musée d’Orsay, Paris), Giovanna Ceserani (Stanford University, Stanford, CA), and Giovanna Capitelli (Università Roma Tre, Rome).
On the first day, Dr. Thijs Dekeukeleire (researcher at Musea Brugge and co-organizer) framed the conference using one of the cases within the research project ‘Apprentice-Master II’. He outlined the picture of a small, close-knit community of Bruges artists who settled in Rome in the early 1800s. In the shadow of the Académie de France in the Villa Médicis, they sought, with trials and errors, connection with their French colleagues—among whom were some of the greatest names of the time, such as Ingres. Their names are immortalized in a painting by the Bruges native Joseph Ducq: a snapshot of a brief, almost forgotten Bruges-French network in Rome. Our collection contains a print of the painting, by Pieter-Jan de Vlamynck (see below).
Interwoven Paths
Starting from the case of the networks of Bruges artists, the conference program covered various thematic sessions. Each highlighted a different aspect of artist networks and together demonstrated how multifaceted the subject is.
Speakers and participants explored how artists shaped their national identity in an international context. How they collaborated across borders through associations and exhibitions. And how studios and academies functioned as social anchor points. In two separate sessions, the role of historical source material and methodology was central to unraveling those networks, as the foundation on which the entire research domain relies.
The 19th century was predominantly the century of nation-building and nationalism, yet during this time, artists frequently moved beyond their homeland.
Relational Historiography
From the start of their academic training, careers unfolded within an international framework. The key concept here is transnationality: a category for exchange and mobility between and beyond national borders. The contributions invited us to broaden our perspective towards a more relational historiography that looks at the intersecting and intertwined paths of artists—entangled histories, so to speak. Two cities inevitably stood out: at the beginning of the 19th century, Rome passed the torch of a cosmopolitan metropolis to Paris. Entire artistic communities emerged: from Latvians to Dutch. Abroad, they sought out compatriots but were also open to outside influences—with all the opportunities and challenges that entailed.
Importance of Source Criticism
A recurring conclusion during the conference was that artist networks do not lend themselves to neat delineation. They are not homogeneous or self-evident structures. On the contrary, attention to overlaps, tensions, and the many silences of the archive remains essential. Among the visible main players, there are also lesser-known figures: all kinds of intermediaries, such as diplomats and traders, but also hidden figures—often female artists and the wives of artists. The importance of source criticism and methodological reflection was repeatedly emphasized, with inspiring examples of innovative approaches from the digital humanities, such as network visualization and spatial mapping. It became clear how digital and more data-driven methods go hand in hand with careful archival study and qualitative analysis.
Collaboration as the Key to New Insights
The closing keynote by Giovanna Capitelli offered an inspiring synthesis of all that beauty. Focusing on Rome, she argued for art historians to also break through national silos. Instead of placing separate national histories side by side, she suggested writing a joint, cross-border art history. This call to connect expertise and share knowledge perfectly captured the spirit of the conference: collaboration and exchange, then and now, are the keys to new insights.
A successful congress
It is clear: we look back with joy on a particularly successful congress. The atmosphere was warm and open, the lectures stimulating, the conversations inspiring—and we returned to Bruges with a head full of new ideas. It was a fantastic opportunity to share our own research project with the international academic community and thus place our findings in a broader perspective. For Musea Brugge, this was the first congress we organized in the field of 19th-century art history and our first foreign edition. In a way, we thereby followed in the footsteps of the many Bruges artists who inspired our research. That step certainly leaves us wanting more.
Thanks to the Academia Belgica, the scientific committee, all the speakers, keynotes, and attendees. Until the next edition!
