Monthly Archives: February 2015

Canadian Conference of Medieval Art Historians (Montréal, 19-20 March 2015)

CanadianCarrefour des Arts et des Sciences C-1017-2 Université de Montréal Pavillon Lionel-Groulx 3150, rue Jean-Brillant, Montréal, H3T 1N8

Inscription/Registration : ccmah2015@gmail.com Droit d’inscription : $15 étudiants ; $25 régulier (payable en espèces ou par chèque) Registration fee : Students $15 ; Regular $25 (payable by cash or cheque)

Mercredi 18 mars / Wednesday, March 18th

Souper-buffet d’accueil pour intervenants et présidents

Warm-up buffet dinner for conference speakers and chairs

RSVP avant le 13 Mars / RSVP by 13 March (ccmah2015@gmail.com)

Jeudi 19 mars / Thursday March 19th

9:00 – Bienvenue/Welcome – Sarah Guérin (Université de Montréal)

9:10–10:00 – Discours d’ouverture/Keynote

Arnaud Timbert (IRHis, Lille)

Nouveau regard sur les campagnes de construction de la cathédrale Notre-Dame de Noyon

10:00 – 10:30 – Pause café/Coffee break

10:30 –12:30 – Sculpture. Président : Steven Stowell (Concordia University)

Anna Thiron (Université Paul-Valéry, Montpellier 3, Centre d’Études Médiévales)

Nouvel éclairage sur les destinations, fonctions et usages d’une structure liturgique atypique : l’ancienne « tribune » abbatiale de Cuxa

Jim Bugslag (University of Manitoba, School of Art)

Last Judgment or Redemption? The Pastoral Message of the South Transept Portals of Chartres Cathedral

Robert Marcoux (Université Laval, Département des Science historiques)

Présence, matière et mémoire : sur les rapports entre forme et fonction dans l’art funéraire médiéval

Christine Kralik (University of Toronto, Department of Art)

Confronting moral corruption in the Three Living and the Three Dead in Late Medieval Strasbourg

12:30–13:30 – Dîner-déjeuner/Lunch

 

13:30–15:00 – Visions du Futur/Future Visions. Session MA. Président : Robert Marcoux (Université Laval)

Marie-Pier Auger (Université de Montréal, Dépt. d’hist. de l’art et d’études cinema.)

Le triptyque oublié de Jan de Beer à Montréal

Timothy Ashmore (York University, Visual Art & Art History)

The Design and Setting of English Romanesque Castle Chapels

Florie Guérin (Université de Montréal, Dépt. d’hist. de l’art et d’études cinema.)

Le verre de Charlemagne : entre fantasmes et réalité

Valeriya Kotsyuba (York University, Visual Art & Art History)

Fancy Towers: The Anglo-Saxon Cult of Saints and the Influence on Tower Architecture After the Conquest

Vanja Stojanovic (University of Guelph, School of Fine Arts and Music)

The Kilnaruane High Cross: The Boat of the Church Upon Sacred Waters

15:00–15:15 – Courte pause café/Short coffee break

15:15–17:00 – Le roman et l’icône/Romance and the Icon. Président : John Osborne (Dean FASS, Carleton University)

Meredith Bacola (University of Manitoba, Department of History)

Hogs, hagiography and heroics: exploring the power of Virgilian imagery to the iconography of Crowland’s St. Guthlac

Catherine Scubla (Lycée Claudel d’Ottawa)

Ce que révèlent les illustrations de cinq manuscrits de La Queste del saint Graal sur les attentes du public médiéval et les leçons cisterciennes du récit

Betsy Moss (University of Toronto, Department of Art)

The Ornamental Turn in Ohrid: A Late Byzantine Revetment on a Bilateral Icon of the Virgin Hodegetria and Crucifixion

Claire LaBrecque (University of Winnipeg, History Department)

Le Volto Santo de Lucques, ses clones et la naissance d’un pèlerinage à Dives-sur-Mer (Normandie) et à Rue (Picardie)

17:00–18:30 – Atelier : Les manuscrits et fac-similés à la Bibliothèque des livres rares et collections spéciales, et cocktails/vin d’honneur. Accueil/Welcome : Éric Bouchard et Nicholas Herman (Université de Montréal)

Souper/Dinner – Voir liste pour suggestions/See list for suggestions

Vendredi 20 mars / Friday, March 20th

9:00–11:00 – Moderne-médiévale/Medieval-Modern. Présidente : Sarah Guérin (Université de Montréal)

Bruno Phalip (Université Blaise Pascal–Clermont-Ferrand II)

Restaurer un édifice médiéval ou les dangers d’une intervention ; à propos de quelques sites en France et au Cambodge (Xe-XIIIe)

Flora Ward (University of Toronto Mississauga, Department of Art)

Restoration and Resurrection on the Walls of the Cámara Santa

Janet Marquardt (Professor Emerita, Eastern Illinois University)

The Medieval Collection in the National Art Museum of Catalonia: Renaissance, Conservation, and Resistance

Jessica Mace (York University, Visual Art & Art History)

Progressive architecture in an unprogressive environment: the origins of domestic Gothic in Canada

11:00–11:30 – Pause café/Coffee break

11:30–13:00 – Architecture. Président : Malcom Thurlby (York University)

Diane Daussy (Chercheur, Archéologie et Archéométrie, Lyon 2)

Couvertures d’édifices religieux entre Orient et Occident : prolégomènes d’une recherché

Elizabeth Carson Pastan (Emory University, Department of Art History)

‘Familiar as the Rose in Spring’: That Wheel-Window in the West facade at Saint-Denis

Roland Sanfaçon (Professeur émérite, Université Laval, Département des sciences historiques)

Le décor dans l’architecture des 13e et 15e siècles en France. Des approches différentes

13:00–14:00 – Dîner-déjeuner/Lunch

14:00–15:30 – Manuscrits/Manuscripts. Président : Nicholas Herman (Université de Montréal)

Brenda Dunn-Lardeau (Université de Québec à Montréal, Département d’études littéraires) and Richard Virr (McGill University, Rare Books & Special Collections)

Towards a Catalogue Raisonné of Books of Hours in Quebec Collections

Ariane Adeline Bergeron (Archiviste-paléographe, Paris, France)

Sept miniatures en quête d’identification : le cas de McGill, MS 102

Gabriele Giannini (Université de Montréal, Département des littératures de langue française)

Enluminures et manuscrits dépecés. Les fragments français de Wallonie retrouvés à Bruxelles

15:30–16:00 – Pause café/Coffee Break

16:00–18:00 – Mécénat et emploi/Patronage and use. Présidente : Virginia Nixon (Concordia University)

Sasha Gorjeltechen (University of Toronto, Department of Art)

The historiographical construction of a spatialized sacred identity at Saint-Aubin in Angers ca. 1100

Janis Elliott (Texas Tech University, School of Art)

Who is the Patron of the Pipino Chapel in Naples? New Evidence

Steven Stowell (Concordia University, Department of Art History)

From Song into Stone: Orcagna’s Tabernacle at Orsanmichele

Adam Stead (University of Western Ontario, Department of Visual Arts)

Associative Assemblage: Spolia and Spiritual Seeing in Some Thirteenth-Century German Reliquaries

Banquet: Lieu à préciser / Location TBA

Call for Papers: The Senses and Visual Culture from Antiquity to the Renaissance (Bristol, 8-9 June 2015)

1920295_10101429075333985_729639212555295849_n[1]Where does the recent sensory turn in the Arts and Humanities leave the study of Visual Culture? Can the viewer/object model incorporate the full sensorium without imposing ocularcentrism? How has vision’s relation to the other senses been expressed and explored through the visual arts from Antiquity to the Early Modern Period? How have the senses and sensory experience been represented in art before the Modern era?

This conference will explore the complex relationship between the visual and the sensory in contemporary theory and ancient practice. It will investigate the ways that art, from icons to illuminated manuscripts, music to architecture, and poetry to theatre, acted as a space for thinking about sensory experience, and for representing sensory ideas and theories. It will bring together scholars from a range of fields, including Classics and Ancient History, Medieval and Byzantine Studies, Musicology, Museum Studies and the History of Art, to explore these questions in the context of different historical periods and cultures, and in terms of politics, religion, philosophy, and society in the pre-Modern era.

We invite abstracts of 300 words for papers including but not limited to the following themes:

  • The role of the visual;
  • The non-visual senses and the reception of visual culture;
  • Embodied interaction with apparently visual art;
  • The use of ancient sensory theory in later practice;
  • Representations of sensory experience;
  • The difference between Eastern and Western European traditions in terms of ideas about the senses and how they are represented;
  • Displaying historical sensory experiences in museum settings;
  • The future of visual culture studies of pre-modern Europe.

Papers will be 20 minutes long, with 10 minutes for discussion. The conference will be held 8th-9th June 2015 at the University of Bristol, UK. Please send abstracts and CVs to the organisers, Erica O’Brien and Heather Hunter-Crawley at sensesvisualculture@gmail.com, by 10th April 2015. For further information and updates, please see the conference website: sensesandvisualculture.wordpress.com

Fellowships: Late Antique and Byzantine Studies at Koç University, Turkey (Deadline 1 March 2015)

K1oç University – Stavros Niarchos Foundation, Center For Late Antique and Byzantine Studies (CLABS) will grant two post-doctoral fellowships in Byzantine Art History and Archaeology.

Fellowships include accomodation, travel, field trips and stipend. Fellows will be able to  take advantage of the university facilities and the libraries connected to the university.

Fellowships will be for one year, renewable depending on the research project. CLABS fellowsare expected to devote themselves full time to their research projects, co-operate with the Center and to give a lecture and a written final report on their work.

The applications should be submitted to byzantinecenter@ku.edu.tr no later than March 1 and include a cover letter, a curriculum vitae with list of publications and other scholarly work, and a short proposal of their research project.

The Apocalypse Art Prize

“The first rule of art is beauty.” So begins “A Primer of Pictorial Devices in Medieval Painting” written by artist Gloria Thomas. The primer is a guide to competitors in the Apocalypse Art Prize. The prize is $10,000 and the deadline for entry is December 31, 2015. Complete information about the prize and how to submit an entry can be found on the competition’s web site: Apocalypseprize.com

The theme for all entries is Saint John the Divine’s vision of the Apocalypse, the last book in the Christian canon, also called Revelation. The Apocalypse text is filled with metaphorical images that have influenced world literature and art for two millennia. Who has not heard of the “Mark of the Beast”, the “Battle of Armageddon” or the “Harlot of Babylon”? The competition web site lists 86 possible subjects for entrants to choose from the Apocalypse text, offering what Thomas calls “an unparalleled opportunity for imaginative representation.”

X1_Woman-Clothed-with-the-Sun[1]

Subject matter is not the only criteria. The substantial cash prize will go to the artist who is best able to use analogical principles of composition in his or her work. These principles are described in the instructional videos: Revelations: Ideas in Images (Part I and II) also found on the Apocalypse Art Prize web site. Between the hard copy primer available to entrants at no cost and the plethora of resource materials loaded on the web site, participants have more than enough information to carry out the requirements set by the competition designer.

About the Competition Design
Gloria Thomas has spent more than 40 years researching and implementing the principles of pictorial analogy in her works that grace churches, museums and private homes. She now wishes to pass these principles on to other Christian artists, particularly young artists, as a traditional way of making contemporary religious art. Thomas wants to challenge artists to rethink not only subject matter and style, but also, and more fundamentally, how to convey the indescribable through images of things that can be pictorially represented.

There is nothing novel about the objective. Art is continually born and reborn from the desire to express relationships between the seen and unseen through artifact, music and poetry. What is exceptional about the competition is that participants are required to use the language of analogy in their submissions, and the models used to explain analogy are illuminated manuscripts of the High Middle Ages.

X2_Seven-Headded-Beast[1]

Seven Headed Beast from the Apocalypse Tapestries (1382 AD) created by Jean Bondol, housed in the Château d’Angers

Naturalism vs. Analogical Representation
The amount of art created in the Middle Ages about the Apocalypse is immense. The competition invites artists look to these fabulous examples of image metaphor for inspiration, works like the Abingdon Apocalypse, the Visio Santci Pauli Apocalypse, the Trinity Apocalypse, the Bodlein Douce Apocalypse, and the Angers Tapestries. While the images are highly representational, they share almost none of the aspects of naturalism associated with Renaissance painting. It is not simply because these works preceded the Renaissance; they are of a different order.

X3_Antichrist-Assault-on-the-Church[1]

Antichrist Assault on the Church from the Abingdon Apocalypse (1270 AD) housed in the British Library, London

The appeal of Renaissance naturalism is in its portrayal of the arrested moment, a freeze frame in one-point perspective that presents an illusion of reality. The illusion created by naturalism is that the viewer is an eyewitness to some event or emotion captured in a work of art. By contrast, Medieval religious art uses representation of figures and things poetically in order to describe physical and metaphysical dimensions on the same surface. It is a picture plane similar to a stage on which it is possible to view at once “not only this world and the next, but the involvement of the entire cosmos.” As Thomas says, “Medieval art is not an illusion of reality, but an analogy of it. Its scenes are not ruled by light and shade as in nature. Everything is equally illuminated to create an analogy with the light of the intellect which sees all thought with the same clarity.” Analogy does not show how things are related to each other materially; it shows how they are “related conceptually” by giving thought material attributes.

A similar purpose is served in Eastern Orthodox iconography with its overlapping treatment of time and eternity and of the horizon-less earthly domain couched between heaven and hell. When the invention of the camera overwhelmed the artistic devices of naturalism, a long retreat from representational art ushered in a movement generally known as Modern Art in its many forms. Ironically, early modernists such as Cézanne, Matisse, Chagall, and Derain turned to the icon as a way of recovering the freedom of space, form and color exhausted by naturalism.

Modernists like Marcel Duchamp, however, preached a kind of militant iconoclasm that persuaded generations of artists to embrace contempt for meaning and beauty. “What I have in mind,” says Duchamp, “is that art may be bad, good or indifferent, but, whatever adjective is used, we must call it art, and bad art is still art in the same way that a bad emotion is still an emotion.”

History of the Apocalypse Art Prize
Thomas rejected this doctrine during her graduate studies at Queens College of the City of New York [1968-1970]. She reached instead for traditional aesthetics and her faith. “Having nearly lost my sanity in art school, I returned to things I loved as a child, the wonderful paintings of scenes from Holy Scripture.” Her first project inspired by this return was a series of paintings based on St. John’s vision of the Apocalypse. In 1994 Viking-Penguin Press published the series under the title “Revelations: Visions of the Second Coming from the Old and New Testaments.” The paintings were accompanied by a text complied from an interplay of biblical prophecy concerning the catastrophes to befall the cosmos at the end of time, leading up to the Last Judgment and the creation of new heavens and new earth.

X4_Four-Horsemen-of-the-Apocalypse[1]

The Apocalypse Art Prize is a continuation of Thomas’ abiding interest in these themes. It is also a meditation on how art communicates through its “first rule,” that is – beauty. The very notion is heresy in modernist terms of amorphous pigment splatters and just plain “bad art.” Like Thomas, philosopher Roger Scruton is convinced that art has a higher purpose than shock and disposable amusement. “Through the pursuit of beauty,” Sruton claims, “we shape the world as our own and come to understand our nature as spiritual beings. But art has turned its back on beauty and now we are surrounded by ugliness.”

Benefactors of the Apocalypse Art Prize are hoping artists will respond to Thomas’ encouragement to explore an artistic language with a long shelf life as well as a source of subjects with endless opportunities “for imaginative representation.”

Participation in the competition is free and open to all during the year 2015. Winners will be announced June 1, 2016 and awarded prizes according to the age category of the participant.

1. Participants older than 16 compete for a first prize of $7,000, 
a second prize of $3,000, and a third prize of $2,000.
2. Participants between 12 and 16 years of age compete for a $2,000 prize.
3. Participants 12 years old and younger compete for a $1,000 prize.

Persian scholar Seyyed Hossein Nasr beautifully articulates the philosophy of the benefactors of the Apocalypse Art Prize and the underlying crisis they seek to address.

“Traditional art is a channel of grace, and the sacred art which lies at its heart in a sense compliments the social and legal norms promulgated by the revelation. It reflects the beauty which guides us to the source of all beauty, to the one who alone is beautiful in the ultimate sense … to gain greater insight into the meaning of religious art in a world which has turned its back upon the very principles that govern all existence.”

For more infomation on the principles behind submissions, to order your free guide to creating your visualisation of scripture, and see the first year’s winners, visit www.apocalypseprize.com/

This article is taken, with permission, from the Orthodox Arts Journal, with updates for the current year’s competition.