Monthly Archives: April 2015

Neue Forschungen zur Wandmalerei des Mittelalters (Paderborn, 10 June 2015)

St. Georg in Reichenau-Oberzell

St. Georg in Reichenau-Oberzell

Wandmalereien gehören zu den aussagekräftigsten, aber auch fragilsten
und fernsten Gegenständen unter den künstlerischen Hinterlassenschaften
des Mittelalters. Von der Aufnahme von Befunden über die Dokumentation bis zur Deutung und Kontextualisierung stellt die Wandmalerei die Forschung vor besonders schwierige Aufgaben. Wo die Kunst des Mittelalters diskutiert wird – sei es in wissenschaftlichen und politischen Foren, im Rahmen der universitären Lehre oder in der breiteren Öffentlichkeit von Museen und Ausstellungen – steht die Wandmalerei aus verständlichen Gründen vielfach am Rande bzw. wird allenfalls anhand des Einzelfalls behandelt, denn die Schwierigkeiten der Erreichbarkeit, der Visualisierung und Vermittlung erscheinen im Falle der Wandmalerei erheblicher als für jeden anderen Bereich der
Gattungsgeschichte der Bildkünste.

Auf der Paderborner Tagung werden signifikante Fallbeispiele sowie
Querschnittsthemen der Wandmalerei des hohen und späten Mittelalters
ins Licht neuer Forschungen gestellt. Ein besonderes Augenmerk gilt den
Phänomenen der Vielfalt, der Vermischung und der Imitation von
Techniken und Materialien, wobei sowohl restaurierungswissenschaftliche
als auch kunstgeschichtliche Positionen zu Wort kommen. Weiter wird
auch die Bandbreite der Aufgabenstellungen von Inventarisation,
Erforschung und Erhaltung von Wandmalereien und Architekturoberflächen
im Rahmen einer institutionenübergreifenden Kooperation behandelt. Aus
der Synergie der Beiträge heraus werden Konturen einer
Gattungsgeschichte der Wandmalerei entwickelt, die von den Techniken
und Materialien und deren historischen Kontexten über Aspekte der
Ortsgebundenheit, des Raumbezugs und der transregionalen Vernetzung bis
zu den Tendenzen der Bildgenese und Programmbildung und zur Typik der
Gliederung, Strukturierung und Erzählweise reichen. So wird ein
Vergleichsrahmen aufgespannt, der geographisch weit gefasst ist und von
Mittel- und Westeuropa über Italien bis zum Balkan und zum Kaukasus
reicht.

Der Standort der Tagung in Paderborn verweist auf die Nachbarschaft von
bedeutenden und teils einzigartigen Beispielen der Wandmalerei aus
allen Perioden des Mittelalters. Bei der Sondierung dieses Umfelds soll
beispielhaft aufgezeigt werden, wie sich im Prisma der
Wandmalerei-Forschung sowohl die Typik des Standorts als auch dessen
regionale und transregionale Vernetzung profilieren lässt. Nicht
zuletzt verfolgt die Tagung das Anliegen, ein Diskussionsforum für
VertreterInnen der Forschung aus verschiedenen Institutionen zu bilden
und NachwuchswissenschaftlerInnen zu fördern.

PROGRAMM

Mittwoch, 10.06.2015
Campus der Universität Paderborn, Warburger Str. 100, Hörsaal O 2

14.00 Uhr
Begrüßung
Ulrike Heinrichs (Universität Paderborn)

14.15 Uhr
Dörthe Jakobs (Landesamt für Denkmalpflege im Regierungspräsidium
Stuttgart)
Maltechniken mittelalterlicher Wandmalereien

15.15 Uhr
Matthias Exner (Bayerisches Landesamt für Denkmalpflege)
Die ottonischen Wandmalereien im Dom zu Augsburg

16.15 Uhr
Kaffeepause

16.45 Uhr
Ulrike Heinrichs (Universität Paderborn)
Zum Bildprogramm und zur Performativität des Gemäldezyklus der Wunder
Christi in St. Georg-Oberzell auf der Reichenau: Der Hilfe suchende
Gläubige als Akteur der Erzählung

17.45 Uhr
Caroline Schärli (Universität Basel)
Ein Bau, zwei Heilige, drei Stifter. Neue Studien zu den karolingischen
und ottonischen Wandmalereien der Sylvesterkapelle in Goldbach und
ihrer gegenseitigen Relation

Donnerstag, 11.06.2015
Campus der Universität Paderborn, Warburger Str. 100, Hörsaal O 2

09.30 Uhr
Anmoderation

09.45 Uhr
Mechthild Noll-Mino (Brandenburgisches Landesamt für Denkmalpflege,
Zossen)
Erfassen, Erforschen und Erhalten – Mittelalterliche Wandmalereien im
Nordosten von Brandenburg

10.45 Uhr
Katharina Pick (Universität Paderborn)
Die Wandmalereien in der „liberaria“ (Hartmann Schedel) im Oberen
Kreuzgang des Domstifts Brandenburg

12.00 Uhr
Mittagspause

13.30 Uhr
Steffen Kremer (Universität Bonn)
Zu Sinngehalt und Funktion heraldischer Bildmotive in profanen
Wandmalereien des Spätmittelalters – Das Beispiel der Malereien in der
Sala baronale im Castello della Manta bei Saluzzo

14.30 Uhr
Barbara Schellewald (Universität Basel)
Blau – Materialität und Licht. Zum Verhältnis von Wandmalerei und Mosaik

15.30 Uhr
Kaffeepause

16.00 Uhr
Brigitta Schrade (Freie Universität Berlin)
Der „Maler des Königs“ Tewdore in Oberswanetien: Ein Beispiel für
ikonographische Programme der georgischen Wandmalerei des 11. / 12.
Jahrhunderts

17.00 Uhr
Krisztina Zsuszanna Ilkó (Central European University Budapest)
Freskenmalerei des 14. Jahrhunderts in der Slowakei: Das Letzte Gebet
Mariae in der Kathedrale von Neutra

19.00 Uhr
Abendvortrag
LWL-Museum in der Kaiserpfalz, Am Ikenberg, 33098 Paderborn

Harald Wolter-von dem Knesebeck (Universität Bonn)
Zur kunsthistorischen Einordnung der profanen Wandmalereien auf der
Gamburg im Taubertal

Freitag, 12.06.2015

Exkursion nach Soest und Höxter-Corvey

8.00 Uhr
Abfahrt von Paderborn

9.00 Uhr
Eva-Maria Bongardt (Universität Paderborn)
Ortstermin in der Kirche St. Maria zur Höhe in Soest

15.00 Uhr
Sveva Gai (Westfälisches Museum für Archäologie Paderborn)
Ortstermin im Westbau der ehem. Klosterkirche Corvey

18.00 Uhr
Ankunft in Paderborn und Ende der Veranstaltung

Die Vorträge sind öffentlich. Die Teilnahme an den Ortsterminen ist
gegen einen Unkostenbeitrag von 25 € möglich. Um Anmeldung für die
Exkursion wird bis zum 31.05.2015 gebeten.

Konzeption und Kontakt: Prof. Dr. Ulrike Heinrichs,
Ulrike.Heinrichs@upb.de, Katharina Pick M.A., Katharina.Pick@upb.de

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Wymondham Abbey: Medieval Architectural Design Uncovered

Fellow Roland Harris reported to Salon, the Society of Antiquaries newsletter, about the following discovery from Wymondham Abbey. Current work there, for construction of new buildings at the east end of the church, has been accompanied by excavation and building recording. As anticipated this has revealed more of the plan and detail of the Norman Benedictine priory (founded as a cell of St Albans in 1107), and a few tantalizing details of an earlier church: the origins of Wymondham Abbey probably lie in a Saxon minster on the site. More unexpected has been the sheer quantity of Gothic architectural mouldings recovered from the excavation and from above ground, which is providing new insight into the later development of the medieval priory. The most substantial quantity of worked stone has come from the unblocking of the former opening from the 12th-century nave north aisle into the north transept. More exciting still, this unblocking has revealed a substantial incised architectural design on the newly exposed respond (also forming the rear of the north-western 12th-century crossing pier).

The incised design measures 1.9m x 1.3m and is a scale drawing for a gable and window tracery. The design is largely complete, with gaps in the lines mostly due to surviving patches of later medieval paint, and includes various setting-out lines, circles and points (see the images below).

unnamed (1) unnamed

The significance of the discovery is threefold. First, the completeness of the design is remarkable—indeed, rather more complete than well-known examples such as those in the Galilee Porch at Ely Cathedral, the Roslin chapel crypt, and Christchurch Priory. Second, the design does not relate to surviving Gothic additions to Wymondham Abbey and, therefore, almost certainly relates to the monastic buildings or, much more probably, the eastern arm of the abbey church, demolished at the Dissolution: as such, it provides an important insight into the lost parts of the building. Third, and more tentatively, the combination of elements suggests a date before the end of the 13th century and raises the question as to whether—like its sister cell at Binham Priory with its precocious west front design of c.1240—Wymondham was at the forefront of bar tracery design in England in the mid-13th century.

Please note that the incised design is not accessible at present, as it is in the middle of a construction site, but visitors will be able to see it from the new room on the site of the medieval St Margaret’s chapel when this opens in the autumn of 2015.

Text taken from Salon, the Society of Antiquaries newsletter. Sign up here.

The Murray Seminar on Medieval and Renaissance Art (Birkbeck College, London, Summer Term 2015)

Torun_SS_Johns_Mary_Magdalene[1]The Department of History of Art at Birkbeck presents a series of seminars on medieval and renaissance art, supported by the Bequest established in memory of Professor Peter Murray, the Department’s founder.

All seminars are held at 6pm at Birkbeck’s School of Arts (43, Gordon Sq., London, WC1H OPD), and are followed by a reception.

Monday 11th May 2015, Room 112 Dr. Zoe Opacic (Birkbeck), ‘A sinner in the City: the later medieval cult of Mary Magdalene in Central Europe’

Wednesday 27th May 2015, Room 112  Dr Ioanna Christoforaki (Academy of Athens (Centre for Byzantine and Post-Byzantine Art)), ‘Cherchez les Franciscains: Friars, Icons and Devotion on Venetian Crete’

Monday 8th June 2015, Room 112 Dr. Peter Draper, ‘Conception and the communication of the design of medieval buildings. What might be learnt from rock-cut buildings?’

Tuesday 16th June, Room 114 Dr Michael Douglas Scott (Birkbeck), ‘The Censorship of Images in Sixteenth-Century Venice’

Book roundup: Low Countries special

As we’ve been alerted to a few new books from the Low Countries, we’ve decided to make a bit of themed book roundup to put them all together! If you have any ideas for further such themes (e.g.: your research area and the only new books you care about), get in contact with us!

68172[1]Pious Memories The Wall-Mounted Memorial in the Burgundian Netherlands by Douglas Brine (Brill)

Wall-mounted memorials (or ‘epitaphs’) enjoyed great popularity across the Burgundian Netherlands. Usually installed in churches above graves, they combine images with inscriptions and take the form of sculpted reliefs, brass plaques, or panel paintings. They preserved the memory of the dead and reminded the living to pray for their souls. On occasions, renowned artists like Jan van Eyck and Rogier van der Weyden were closely involved in memorials’ creation.

In Pious Memories Douglas Brine examines the wall-mounted memorial as a distinct category of funerary monument and shows it to be a significant, if overlooked, aspect of fifteenth-century Netherlandish art. The patronage, functions, and meanings of these objects are considered in the context of contemporary commemorative practices and the culture of memoria.

Brine received the 2015 Arthur Kingsley Porter Prize, for an earlier version of Chapter 5 of Pious Memories, his article, “Jan van Eyck, Canon Joris van der Paele, and the Art of Commemoration,” published in the September 2014 issue of The Art Bulletin.

For 25% off this book, use action code 70111 when ordering through Brill.com. Valid till: 01-08-2015

23GHoogewerff[1]Medieval Art in the Northern Netherlands before Van Eyck. New Facts and Features, edited by Anne-Maria J. van Egmond & Claudine A. Chavannes-Mazel (Clavis)

G. J. Hoogewerff (1884-1963), founder and long-term director of the Royal Netherlandish Institute in Rome, was the first to write a comprehensive study of Northern Netherlandish art: De Noord-Nederlandsche Schilderkunst. In 1936, the first of five volumes appeared covering the medieval period up to the end of the fifteenth century. Since then, several discoveries have altered our view of this lesser-known period of art history. Modern scientific methods have deepened our knowledge and raised different questions regarding many works of art. The broadened scope of potential source material has produced new insights and has clarified production methods. The current volume takes Hoogewerff’s groundbreaking work as a starting point, featuring a fine selection of scholars whose task has been to explore the scientific progress that has been made in the decades since, with special emphasis placed on art works made prior to 1420. Contributions on tomb and architectural sculpture – art forms neglected by Hoogewerff, who concentrated solely on painting – signal emerging trends in art historical research. With its many new illustrations, the volume at hand shows the richness and high quality of medieval art production in the Northern Netherlands before Van Eyck.

Contents:
W. Krul, G.J. Hoogewerff, Explorer in Art History
K. van der Ploeg, The Reception of Hoogewerff’s ‘De Noord-Nederlandsche Schilderkunst’
E. Klinkenberg, The Medieval Mural Paintings in the Dutch Reformed Church at Britsum, A Reflection of Frisian Crusade Participation
A.M.J. van Egmond, Art and Archives, Clerics and Counts – New Insights on the Crucifixion Mural in the Utrecht Burial Chapel of Guy of Avesnes
I. Kneepkens, A Note on the Unfortunate Lords of Montfoort
S. Suer, The Instructions int he Bethlehem Plenary and its Production Process
W.A.W. van Welie-Wink, The Creation Miniatures in Maerlant’s Rijmbijbel in the Museum Meermanno in The Hague
C. Chavannes-Mazel, Michiel van der Boch – Discerning Fact from Fable
W. Van Anrooij, Armorials, Heralds and Heraldry around 1400 – The Importance of the Manuscript and the cultural-historical Context
M. Bloem, Presentatio, Imitatio, Innovatio – The Imitation and Correction of a corrupt pictorial Tradition by the Masters of Zweder van Culemborg
E. Den Hartog, The ‘Cinderella’ of the Arts – The Study of Architectural Sculpture up to 1420 from G.J. Hoogewerff’s Time to the Present
S. Frequin, A Voice from the Grave – The Tomb of Guy of Avesnes in Saint-Martin’s Cathedral in Utrecht
J. Jasperse, Duke Charles of Guelders and the ‘Restoration’ of the Tomb Monument of Gerard IV and Margaret in the Roermond Minster
C. Chavannes-Mazel, Epilogue – After Hoogewerff.

gc3bcstrow[1]Le Retable de la Passion de Güstrow. Étude historique et technologique edited by Catheline Périer-D’Ieteren and  Ivo Mohrmann (Editechnart)

Summary in French:
Cet ouvrage est la première monographie consacrée au retable brabançon de la Passion du Christ de l’église Notre-Dame de Güstrow, œuvre prestigieuse et pourtant méconnue. A doubles paires de volets (sculptés et peints) ce retable constitue un des rares témoins conservés de ce type de mobilier liturgique illustrant le savoir-faire des ateliers bruxellois au XVIe siècle. Les sculptures polychromées sont attribuées à la célèbre dynastie des Borman , un soldat portant la signature de Jan Borman , tandis que les peintures sont données à des maîtres de l’entourage de Bernard Van Orley. L’étude préalable à l’intervention de restauration menée par une équipe internationale de chercheurs et restaurateurs belges et allemands a permis de réunir un important matériel inédit. Ainsi l’histoire de l’ensemble des restaurations antérieures et la personnalité du restaurateur Alois Hauser l’Ancien ont été précisées. Les attributions ont été réexaminées à travers une étude approfondie du style et des techniques d’exécution des sculptures comme des peintures. Des informations essentielles et inattendues sur la genèse des compositions et sur les collaborations entre peintres sont apparues suite à l’examen en réflectographie infrarouge des volets peints réalisé par la Hoschschule für Bildende Künste de Dresde. Enfin l’étude dendrochronologique a remis en question la datation de 1520-22 traditionnellement acceptée, ouvrant par là de nouvelles pistes de réflexion.

Translation:
This book is the first monograph on the Brabant altarpiece of the Passion of the Christ of the Church of Our Lady of Güstrow, a prestigious work, but all but unknown. With a pair of carved and painted wings, this altarpiece is one of the few examples preserved of this type of liturgical furniture illustrating the expertise of the Brussels workshops in the sixteenth century. The polychrome sculptures are attributed to the famous dynasty Borman – a soldier bearing the signature of Jan Borman – while the paintings are for masters of the entourage of Bernard van Orley. The preliminary study conducted at the restoration work by an international team of Belgian and German scientists and restorers brought together important new material. Firstly, the history of all previous restorations and the personality of the Old restaurateur Alois Hauser have been investigated. The altarpiece’s functions have been reviewed through a thorough study of style and execution techniques for both sculptures and paintings. Critical and unexpected discoveries on the genesis of compositions and collaborations between artists emerged following the infrared reflectography examination of painted shutters have been found by the Hochschule für Künste Dresden Bildende. Finally dendrochronological study questioned the traditionally accepted dating from 1520 to 1522, thereby opening new avenues for investigation.

Contents:
Chapitres introductifs

C. Périer-D’Ieteren – Les retables à double paire de volets. Des oeuvres de prestige au sein de la production des retables brabançons des XVe et XVIe siècles.
B. D’Hainaut-Zveny – Le retable de Güstrow, un retable à double paire de volets. Considérations sur les usages et raisons d’être de ces vantaux.
L. Vogel – Histoire et contexte historique de la réalisation du retable de Güstrow.
T. Schöfbeck & K.-U. Heußner – Les analyses dendrochronologiques du retable de Jan Borman de Güstrow.

Les peintures

V. Bücken – Les volets peints du retable de Güstrow et Bernard van Orley.
C. Périer-D’Ieteren – Essai d’attribution des volets peints du retable de Güstrow et examen de leur dessin sous-jacent.
I. Mohrmann, K. Riße – Radiographie, réflectographie infrarouge, fluorescence d’ultraviolets. Les volets peints du retable de Güstrow. Analyses par rayonnements in situ.
B. Jackisch – Analyse technologique des volets peints du retable de Güstrow.

Les sculptures

H. Nieuwdorp – Quelques considérations sur les Borman, leurs ateliers et leur collaboration.
C. Périer-D’Ieteren – Les sculptures du retable de Güstrow. Étude stylistique.
V. Ehlich – Le montage du retable et ses particularités.
V. Ehlich – Construction, taille et polychromie du retable ainsi que quelques aspects de sa
restauration.

Les restaurations

U. Stehr – Alois Hauser l’Ancien et la restauration des volets peints du retable de Güstrow.
M. Runge – Restauration des volets peints du retable de Güstrow.
V. Ehlich – La restauration des parties sculptées du retable de Güstrow.

dIS-9782930054216-1[1]Corpus of 15th-Century Painting in the Former Southern Netherlands :Los Angeles Museums by Diane Wolfthal and Catherine Metzger

This book represents the first comprehensive study of all the fifteenth-century Flemish paintings in Los Angeles, including those in the J. Paul Getty Museum, the Los Angeles County Museum of Art, the Norton Simon Museum of Art (Pasadena) and the Henry E. Huntington Library and Art Gallery (San Marino). It examines well-known masterpieces by Dirk Bouts, Gerard David, and Hans Memling as well as little-known works, some published here for the first time. Using the latest advances in technical studies, including weave density maps, it reveals new insights. Beautifully designed and lavishly illustrated with numerous color illustrations, this volume joins a series of exhaustive studies of early Netherlandish paintings that was begun shortly after the second world war.

FramesandsupportsFrames and Supports in 15th- and 16th-Century Southern Netherlandish Painting by Hélène Verougstraete (KIK-IRPA)

Verougstraete’s technical study is unique because it was the first in-depth documentation of Netherlandish panel paintings with “engaged” frames. This practice of fusing together the frame and the wooden painting support was common in the 15th and 16th centuries, though over time these two elements were often separated. Thanks to Verougstraete’s research, scholars and conservators have had a valuable record to guide the structural treatment of wooden supports for works of this period and the selection of historically accurate frames to replace those that were removed and lost. However the first edition was published in French with a small print run, both of which have limited its accessibility. The new expanded and translated edition, which is freely accessible to conservators, scholars, and the general public, sheds further light on how artists collaborated with woodworkers to create painting supports.
Good news everyone! This has been published as a free e-book! It serves as an important resource for conservators and scholars who study and care for old master paintings on wooden panels. The publication is an updated study based on Verougstraete’s 1989 doctoral thesis, which was originally prepared in French with black and white pictures. The new e-book has been fully translated into English and features over 2,000 crisp, full-color illustrations and diagrams presented in a searchable, zoomable interface.

As usual, we are happy to plug any new medieval art book you may have noticed – even if it’s yours, or your spouses’ – in our next book roundup: get in touch with medievalartresearch@gmail.com.

Call for Papers: British Archaeological Association 2016 Annual Conference: Archaeology, Architecture and the Arts in Paris c.500-c.1500: The Powers that Shape a City

KONICA MINOLTA DIGITAL CAMERAThe British Archaeological Association annual conference for 2016 will be held in Paris. The city boasts a very rich archaeological history that is becoming increasingly well-known due to the ongoing work of the Commission du Vieux Paris, French based university teams focusing on the city’s material history, and scholars worldwide. Paris offers an embarrassment of riches to the archaeologist and art historian, and to set some limit on the possibilities, this conference will address the theme of ‘The Powers that shaped the City’ over the millennium between the end of the Roman Imperium and the Renaissance. Several powers converged and conflicted in the shaping of the city – royal power; the power of the secular and the monastic church; the power of the mendicant friars, the schools and colleges of the University of Paris; and the power and wealth of a vibrant urban patriciate. The conference will take place from Saturday 16th July 2016 to Wednesday 20th July 2016. Lectures will be held in the Institut National de l’Histoire de l’Art (INHA), at Rue Vivienne. The convenors for the conference are Professor Meredith Cohen (UCLA), Professor Lindy Grant (University of Reading) and Professor Dany Sandron (INHA). We welcome papers addressing any aspect of material culture in Paris (archaeology, architecture, painting, decorative arts) that reflects on the theme of the powers that shape the city. Most papers will be 30 minutes long; some will be 20 minutes. The language of the conference will be English. If you would like to give a paper, please send a proposal of 500-1000 words to Professor Meredith Cohen (mcohen@humnet.ucla.edu) or Professor Lindy Grant (l.m.grant@reading.ac.uk). Paper proposal deadline: 1 July 2015.

Giotto’s Circle Presents Berlin Remixed: Papers on Italian Art and Architecture from the RSA Conference.

nuremberg_chronicle_berlin[1]After the recent Renaissance Society of America conference in Berlin, the Courtauld will be hosting an opportunity for those who could not see he papers – whether due to session clash or not attending the conference – in the, Research Forum Seminar Room, 30 April, 10.00 am – 6.00 pm.

10.00 – 11.30: SPACES AND PLACES I

Alexander Roestel (The Courtauld Institute of Art): Habemus paulum: Reconstructing the Florentine Church of San Paolino

Joanna Cannon (The Courtauld Institute of Art): Relocating the Virgin. Altars and panel paintings in the Dominican churches of Tuscany.

Donal Cooper (University of Cambridge): Provincialism and Plurality in the Franciscan Church Interior

11.30 – 11.45: Break

11.45 – 1.15: SPACES AND PLACES II/WORDS AND PICTURES I

Michaela Zoeschg (Victoria and Albert Museum/The Courtauld Institute of Art): Royal Courts and Enclosed Gardens: The Frescos in Santa Maria Donnaregina (Naples) and Their Audience

Janet Robson (Independent Scholar): Pride of Place: La Verna, Monticelli, and a Trecento Painting for a Noble Clarissan Nun

Federico Botana (Queen Mary, University of London): Learning the Trade: Illustrated Abbaco Manuscripts in Fifteenth-Century Florence.

1.15 – 2.30: Lunch (not provided)

2.30 – 4.00: WORDS AND PICTURES II

Scott Nethersole (The Courtauld Institute of Art): “Your arrows have pierced me”: Perugino’s Saint Sebastian and the Spectator

Federica Pich (University of Leeds): Written for the Viewer, Painted for the Reader: On the Rhetoric of Words in Portraits

Paul Hills (The Courtauld Institute of Art): Language and the Discrimination of Colors in the Time of Titian and Veronese

4.00 – 4.30 Break

4.30 – 6.00: BEYOND TUSCANY

Bryony Bartlett-Rawlings (The Courtauld Institute of Art): ‘Beware, you envious thieves of the work and invention of others, keep your thoughtless hands from these works of ours’.

Eva Papoulia (The Courtauld Institute of Art): Gregory XIII and Sixtus V: A Known Antipathy, an Unknown Project

A WIDER VIEW

Caroline Campbell (National Gallery) – discussant in a round tablePainting and Painters in Fifteenth-Century Venice’

Closing remarks

Reception to mark the publication of Péter Bokody’s book Images-within-Images in Italian Painting (1250-1350): Reality and Reflexivity, Ashgate 2015.

Conference: Holy Bodies, Sacred Spaces (York, 2 May 2015)

University of York
Berrick Saul Building
Bowland Auditorium

The praesentia of holy bodies, the material remains of saints, is a
seminal aspect of late antique and medieval Christianity and has long
received scholarly attention. The art-historical debate on the eleventh
and twelfth centuries has focused, in particular, on pilgrimage, from
the monumental 1923 monograph by Arthur Kingsley Porter to the most
recent studies that examine the relationship between architecture and
pilgrims’ pathways in approaching holy bodies and venerated relics.
The idea of pilgrimage, however, unveils only a part of the richness of
the topic. In this conference, sponsored by the Department of History
of Art and the Centre for Medieval Studies of the University of York,
and funded by a British Academy/Leverhulme Foundation Small Grant,
speakers are invited to reflect on the different layers of meaning
associated with the praesentia of holy bodies. What was, for example,
the ecclesiological relevance of the possession of holy bodies at a
given site? To what extent did the praesentia of a saint have an
institutional, or even political importance? And, finally, in which
ways have these aspects been materialised in architectural structures
or visualised in images?

Programme

10.30       Introduction
MICHELE LUIGI VESCOVI (University of York)

Image, Architecture and Memory
Chair: M. L. Vescovi

10.45    Transformative sculptures: the ‘graven image’ and the human
figure in Anglo-Saxon sculpture
JANE HAWKES (University of York)

11.15    Architectural provision for secondary saints, prospective
saints and the blessed
RICHARD PLANT (Christie’s Education)

11.45    Inscribing memory: Bernward and Saint Michael of Hildesheim
WILFRIED E. KEIL (Ruprecht-Karls-Universität Heidelberg)

12.15    Discussion

Locating Holy Bodies
Chair: T. Ayers

14.00    Moving the body of a saint: St John of Beverley and the
architecture of Beverley Minster
CHRISTOPHER NORTON (University of York)

14.30    Absent body, double bodies: visualizing Bologna’s civic cults
JESSICA N. RICHARDSON (Kunsthistorisches Institut in Florenz –
Max-Planck-Institut)

Holy Bodies and Pilgrimage

15.00    The Apostle is present! A new setting for pilgrims in the
Cathedral of Santiago de Compostela
MANUEL CASTIÑEIRAS (Universitat Autònoma de Barcelona)

15.30    Ubi populo, qui huius miraculi fama magnus in ecclesia
confluxerat, omnia hec sunt narrata. Saint-Gilles-du-Gard and
Saint-Trophime at Arles: recent archaeological investigations on two
major Romanesque pilgrimage churches in Southern France
ANDREAS HARTMANN-VIRNICH (Laboratoire d’Archéologie Médiévale et
Moderne en Méditerranée, LA3M UMR 7298 Aix-Marseille Université
AMU/CNRS)

16.00    Discussion

For further queries please contact the organiser, Michele Luigi Vescovi
(micheleluigi.vescovi@york.ac.uk).

http://www.york.ac.uk/history-of-art/news-and-events/events/2015/holy-bodies-sacred-spaces/