Monthly Archives: October 2015

Job: University of Minnesota, Art History, Contract Assistant Professor, Medieval/Renaissance Art History

University_of_Minnesota_Twin_Cities_at_nightThe Department of Art History in the College of Liberal Arts at the University of Minnesota invites applications for an 80% time, contract faculty position in Medieval/Renaissance Art History beginning Spring 2016. Appointment will be at the rank of contract assistant professor. The initial term of this appointment is academic year 2015/16, beginning January 14, 2016 and concluding May 29, 2016. The appointment is for a fixed term, with the likelihood of renewal for Academic Year 2016-17.

Teaching responsibilities for spring 2016 will consist of 2 undergraduate courses in our core curriculum: “Medieval Art” and “Art History Topics: The Renaissance Body.” If the position is extended, other undergraduate courses might include “15th Century Painting,” and “Art History Topics.” Course assignments will depend on qualifications.

Link to job posting.

New publication: Monumentos singulares del románico: nuevas lecturas sobre formas y usos. Actas XIII Curso de Iniciación al Románico (Aguilar de Campoo), Fundación Santa María la Real, 2012

Monumentos-singulares-del-romanicoMonumentos singulares del románico: nuevas lecturas sobre formas y usos. Actas XIII Curso de Iniciación al Románico (Aguilar de Campoo), Fundación Santa María la Real, 2012, 244 p.
ISBN: 
978-84-15072-58-4

El románico español es uno de los más ricos de Europa, tanto por la cantidad de testimonios como por la calidad de muchos de ellos. En el extenso y variado catálogo de obras conservadas sobresalen algunos edificios relevantes que presentan particularidades propias y específicas que los hacen singulares dentro del panorama general del estilo. En esta publicación se recoge una pequeña selección con algunos monumentos emblemáticos que están siendo objeto, o lo han sido recientemente, de nuevas investigaciones basadas en metodologías y enfoques actualizados. A través de estas líneas de estudio se está cambiando la visión tradicional que hasta ahora se tenía sobre estos edificios, contribuyendo de esta manera a  un mejor conocimiento de nuestro románico.

En la mayor parte de los casos elegidos se trata de soluciones estructurales poco comunes que están en perfecta sintonía con la función litúrgica o ceremonial que tenía lugar en ellos. La cripta de la catedral de Palencia es un buen ejemplo de ello…. apoyada en ocasiones por un ideario decorativo de gran relevancia, bien en forma de pintura mural, como San Baudelio de Berlanga y San Isidoro de León, o de escultura monumental, como ocurre con la Cámara Santa de la catedral de Oviedo.

En el libro se analizan obras como la cripta de San Antoín de Palencia, cuyo estudio corre a cargo de Rafael Martínez González, director del Departamento de Cultura de la Diputación de Palencia y académico de la Institución Tello Tellez de Meneses.  César García de Castro Valdés, arqueólogo de la Consejería de Cultura del Principado de Asturias  trata la Cámara Santa de la Catedral de Oviedo. Gerardo Boto Varela de la Universitat de Girona y Esther Lozano López de la Universitat Rovira i Virgili de Tarragona analizan, respectivamente, el panteón regio de San Isidoro de León y  la iglesia de San Pedro de Siresa en Huesca.  Milagros Guardia Pons, catedrática de la Universitat de Barcelona comenta la estructura arquitectónica y los usos litúrgicos de  la ermita de San Baudelio de Berlanga en Soria y, finalmente, Javier Martínez de Aguirre, catedrático de la Universidad Complutense de Madrid, escribe sobre La Santa Cruz y el Calvario: formas y espacios románicos.

Contenido:

RAFAEL MARTÍNEZ: La cripta de la Catedral de Palencia: nuevas respuestas a viejas cuestiones.
ESTHER LOZANO LÓPEZ: San Pedro de Siresa: Nuevas perspectivas sobre un monumento emblemático.
CÉSAR GARCÍA DE CASTRO VALDÉS: La reforma románica de la Cámara Santa de la Catedral de Oviedo.
GERARDO BOTO VARELA: In Legionenssy regum cimiterio. La monumentalización del panteón regio de San Isidoro de León.
MILAGROS GUARDIA PONS: San Baudelio de Berlanga: estructura arquitectónica y usos litúrgicos.
JAVIER MARTÍNEZ DE AGUIRRE: La Santa Cruz y el Calvario: formas y espacios románicos.

Conference programme: Seals and Status 800-1700 (British Museum, 4-6 Dec 2015)

Silver seal matrix set with a red jasper Roman intaglio showing the emperor Antoninus Pius. Acquired with the assistance of Dr. John H. Rassweiler.

Silver seal matrix set with a red jasper Roman intaglio showing the emperor Antoninus Pius. Acquired with the assistance of Dr. John H. Rassweiler.

Programme for Seals and Status 800-1700, a major conference at the British Museum, 4-6 December 2015. Book tickets at the official site.

£50 (£25 students and concessions)

Friday 4 December

08.30      Coffee and registration

09.30      Introduction

Jonathan Williams, British Museum

09.45      Keynote 1

Status: an impression
Brigitte Bedos-Rezak, New York University

10.45      Break

11.00      Session 1: Images and cultural history

Chair: Leslie Webster, British Museum

Seal matrices from Anglo-Saxon England
Simon Keynes, University of Cambridge

Sanctity and the impression of place: pilgrimage art and seals in the Latin Kingdom and the West
Laura Whatley, Auburn University at  Montgomery

European heraldic elements in Islamic seals from Southeast Asia
Annabel Gallop, British Library

12.30      Lunch (not provided)

13.30      Session 2: Politics, power and people

Chair: TBC

Image, eikon and authority: the Republican great seal and its visual context, 1649–1660  James Jago, University of York

Negotiating political status: alliance treaties and city seals in the late medieval Upper Rhine region
Markus Späth, Justus Liebig-Universität Gießen

Social structure (judicial) of 11th-century Constantinople
Jonathan Shea, Dumbarton Oaks

15.00      Tea and coffee break

15.30      Session 3: Life cycles of the seal

Chair: Alan Borthwick,
National Records of Scotland

Chinese seals: stamps of status on Chinese paintings and calligraphy
Mei Xin Wang, British Museum

Sealed in lead: archaeological finds of Papal bullae
Tim Pestell, Norwich Castle Museum

La production de matrices de sceaux chez les orfèvres Bruxellois au
XVIème siècle
Marc Libert, Archives générales du Royaume – Algemeen Rijksarchief

18:30       Speakers dinner

Saturday 5 December

10.00      Keynote 2

The seal as status object
David Crouch, University of Hull

11.00      Break

11.15      Session 1: Status and self-representation

Chair: Julian Gardner

The seal(s) of Robert fitz Walter, godfather of Magna Carta
Nicholas Vincent, University of East Anglia

The seals of Lucrezia Borgia and Isabella d’Este
Diane Ghirardo,
University of Southern California

Social status as established through familial ties on Byzantine lead seals
Angelina Volkoff, Lomonosov Moscow State University

12.45      Lunch (not provided)

14.00      Session 2: Size, perception and production

Chair: Naomi Speakman, British Museum

Does size matter? Social standing and seal dimensions in medieval Britain
John McEwan, Saint Louis University

Studies in the materiality of royal and governmental seals 1100–1300
Elke Cwiertina & Paul Dryburgh, The National Archives

Beyond the usual suspects: seal motifs as expressions of status in non-elite society
Elizabeth New, Aberystwyth University

15.30      Tea and coffee break

16.00      Keynote 3

English medieval seals as works of art
T A Heslop, University of East Anglia

17:00       Conference Reception and Book  Launch

Sunday 6 December

10.00      Keynote 4

Managing the message: royal and governmental seals 1100–1700
Adrian Ailes, The National Archives

11.00      Break

11.15      Session 1: Person and personality

Chair: James Robinson, The Burrell Collection

Sealing ‘on behalf’
Jessica Berenbeim, University of Oxford

Ancient and medieval intaglios in medieval seals: their nature, meaning and social status
John Cherry, British Museum & Martin Henig, University of Oxford

Du sceau au monument funéraire: la pratique de la commandite des prélats français à la fin du Moyen Âge, le cas de Tristan de Salazar
Ambre Vilain, Institut national d’histoire de l’art

12.45      Lunch (not provided)

14.00      Session 2: Ownership, authority and function

Chair: Elizabeth Danbury, University College London

Illustrious ladies: Seals and female authority in Sweden, c. 1300–1430
Louise Berglund, Örebro University

Baronial seals before 1125: how rare a phenomenon?
Jean-François Nieus, University of Namur

Héraldique sigillaire des femmes au Moyen Âge: usage et function
Marie Gregoire, École Pratique des Hautes Études de Paris

15.30      Tea and coffee

16.00      Session 3: Category and corpus
Chair: P D A Harvey

Seals of English medieval queens: an introduction
Elizabeth Danbury, UCL

Names of occupation or office on medieval seal matrices recorded by the Portable Antiquities Scheme
Helen Geake, British Museum/University of Cambridge

Administrer le comté de Champagne au XIIIe siècle:le statut social et institutionnel des ‘petits officiers’ à travers leurs sceaux
Arnaud Baudin, LAMOP, UMR 8589

17.15      Closing remarks
P D A Harvey

Programme subject to change

BAA Study Day: Opus Anglicanum (26 Nov 2015)

embroidery_610[1]In the course of the later middle ages, embroiderers in England produced some of the masterpieces of the age. Incredibly detailed and painstakingly created their work was sumptuous and expensive. Often created as church vestments and commissioned by both ecclesiastical and secular patrons, the base textiles were embellished with gold and silver thread, a myriad of coloured silks, pearls and jewels. In advance of an exhibition devoted to this subject matter, and due to open at the Victoria and Albert Museum in 2016, the BAA Study Day will examine some of the surviving treasures of Opus Anglicanum in store and on display at the Museum.  The day will begin at The Clothworkers Centre for the Study and Conservation of Textiles and Fashion at Blythe House (Kensington Olympia) and will continue in the Medieval and Renaissance Galleries at South Kensington.

Thursday, 26 November 2015
Blythe House

10.00am Welcome and coffee

10.30am Intro of pieces on show (Glyn Davies)

11am Techniques of making

11.30am Close looking and discussion

12.30am Lunch (independent – South Kensington)

V&A

2.00pm Reconvene at the V&A

2.15pm Embroidery displays in the Medieval & Renaissance Galleries (Glyn Davies leading)

3.15pm. Collecting Opus Anglicanum in post-Reformation and Victorian England (Emma Rogers)

3.45pm Discussion

4.15pm End/Tea in the Café

The cost of the day will be £20 for members. The event is free for students, for whom travel grants (to a maximum of £50) are also available.

 Places are limited to 20, of which up to 10 are reserved for students.

 To apply please e-mail Lloyd de Beer – ldebeer@thebritishmuseum.ac.uk –  by Thursday 12th November – either enclosing a cheque for £20 payable to the  ‘British Archaeological Association’ or stating that you are a student. In the event that a greater number of applications are received than there are places available a ballot will be held. Successful candidates will be contacted by email on Monday 16th November.

Use of Models in Gothic Art (Geneva, 4-5 Nov 2016)

Villard_de_Honnecourt_-_Sketchbook_-_29[1]Call for Papers

University of Geneva, November 4 – 05, 2016
Deadline: Dec 15, 2015

The University of Geneva’s Art History Unit and the University of
Strasbourg’s Institute of Art History are organizing an international
conference:

Supposed Models, Identified Models: Their Uses in Gothic Art

The topic of models, whose use is inherent to the artistic creative
process, has been central to art historians’ concerns for a long time.
In the Middle Ages, the use of various models was frequent. But those
remain rather difficult to identify when dealing with specific pieces
of work, which can be very distant, both chronologically and
geographically. Moreover, interpreting prototypes makes it all the more
difficult to analyse this phenomenon and appreciate its true
importance. Indeed, medieval artists typically proceeded by selecting a
number of patterns, which they then assembled into different
compositions. The few medieval model books that we have at our disposal
today describe this process: there is little to no composition per se,
but rather a selection of depictions. This shows a will by the artist,
whether it be a sculptor, a goldsmith, a painter or an architect, to
use creativity to go beyond the model itself, through the manipulation
and combination of a variety of borrowed elements. We know that the
diversity of the models used is key to the formation of Gothic art.
Determining their origin and circulation for a specific piece of work,
however, is no easy task.

Following the 1995 publishing of Robert W. Scheller’s seminal work
Exemplum. Model-book Drawings and the Practice of Artistic Transmission
in the Middle Ages, the use of bi- or tridimensional models, as an
intermediate between two pieces of work sharing one or more
similarities, has been systematically put forward to explain formal
transmission. However, given the rarity of the documents and the
uncertainty of their initial purpose, many questions and discrepancies
in opinions remain on both their importance and their actual use.

The aim of this conference is therefore to focus on those topics, more
specifically on how central they were to the creative process during
the Gothic era (12th to 15th century), in all artistic fields
(painting, sculpture, goldsmithery, architecture). By discussing those
different aspects in the various contributions, through the study of
their specificity (their nature, use and various channels of
distribution) the notion of models may thus be more precisely defined.

The nature itself of those models, a very debated issue, is a logical
starting point, even if the current state of the documents and the
preservation of the works make it difficult to guarantee a satisfactory
analysis. Which works of art are, at some point, deemed worthy of being
reproduced or mentioned? How is a model chosen? What criteria are taken
into account in order for it to be elevated to the status of reference?
In this case, the prototype becomes exceptional and should therefore be
examined. Model books and model drawings are another crucial topic
which must be widely discussed. What functions can be assigned to the
few fragments which historiographical tradition has considered as such?
Should formal books, designed to register a pattern or a composition,
be distinguished from notebooks used for memory purposes? The
collections of patterns we have today, which were probably designed to
be used as an intermediate and a means of transmission, come in a
bi-dimensional form, either on parchment, paper or wood. Fabric was
also considered recently as a possible material for the design of the
Canterbury and Sens stained glass. Besides, there is evidence of
tri-dimensional scale models (made of wax, wood, clay or plaster) being
used for various purposes, including sculpture. Again, the very nature
of these materials used for formal transmission from one work of art to
another requires an in-depth analysis.

We also need to question the manners in which craftsmen and artists
might have used these models. Are those partial or complete copies? To
what extent did the model need to be adapted (for iconography, material
or point of view), completed, adjusted (for scaling or framing) and
inevitably interpreted? What meaning should inversions be given? The
use of models, whether it be through sketches or reference work, could
have contributed to the visual and technical training of the artist as
well as guided the commissioner’s choice, following both aesthetic and
ideological criteria. Notes made for memory purposes and gathered along
various trips should not be neglected either.

Beyond the bi- and tri-dimensional models, whose role and significance
must be put into perspective, or at least carefully examined, the
transmission of shapes, patterns and compositions could have been
achieved via different means. The travelling of artists, supervisors or
commissioners, the mobility of small objects such as manuscripts,
statuettes, goldsmithery pieces, seals and the sending of diplomatic
gifts all represent other possible channels of distribution which could
explain the noted similarities between works geographically very
distant from one another.

Studying and questioning each of these aspects as thoroughly as
possible should provide us with some elements to answer a number of
questions which have been too briefly addressed so far. It should also
give a clearer and more precise idea of one of the means of
transmission of gothic art, through intense circulation networks, which
have contributed both to its emergence, its development and its spread.

The conference proceedings will be published.

Presentation proposals must be submitted by email with an abstract of
approx. 400 words, along with an abridged C.V. (2 pages maximum) by
December 15, 2015 to the following address: colloque.modeles@gmail.com .
Prospective participants will be notified in mid-January 2016. A
provisional schedule will be available from March 2016. Presentations
will be limited to 20 minutes, followed by a 10 minute discussion.
Participants : Researchers, junior and senior
Languages : French, English

Organizing Committee:
Denise Borlée, University of Strasbourg
Laurence Terrier Aliferis, University of Geneva

Scientific Committee:
Michele Bacci, University of Freiburg
Philippe Cordez, Universität München
Frédéric Elsig, University of Geneva
Christian Heck, University of Lille 3
Herbert Kessler, Johns Hopkins University
Pierre Alain Mariaux, University of Neuchâtel
Roland Recht, Paris, Collège de France
Marc Schurr, University of Strasbourg
Jean Wirth, University of Geneva

Contact:
colloque.modeles@gmail.com

Call for Papers: Dialogue and Difference in the Middle Ages (Bristol 25-26 Feb 2016)

P2190348Bristol Centre for Medieval Studies – 22nd annual postgraduate
conference

Thursday 25th – Friday 26th February 2016
Call for Papers

Dialogue and Difference is an interdisciplinary conference bringing together scholars from all fields to explore the ways in which cultural, social, political, religious, scientific and intellectual exchange and interaction unfolded throughout the Middle Ages. Dialogues took place both across borderlines and within the heart of medieval societies, in monasteries, universities, courts and market places as well as on battlefields and high-roads. How did these dialogues shape the societies of the Middle Ages, and how did new ideas, people and cultures interact with old? Did difference lead to conflict, or to coexistence? This conference aims to explore these issues across societies from medieval Europe, Byzantium, the Near East and beyond, and spanning from Late Antiquity to the 16th century. Possible topics include, but are not limited to:
⁃ societies built on cultural, political and religious borders
⁃ inter-religious dialogue and polemic
⁃ the emergence of the university
⁃ conquest and colonisation
⁃ heresy and reform
⁃ inter and intra-textual dialogues
⁃ gender and the body
⁃ technological or scientific developments
⁃ conversion and assimilation
⁃ material histories and the dialogue of artefacts

Postgraduate and early-career researchers are invited to submit abstracts of:
200-300 words for 20 minute papers

We are also accepting abstracts of:
100 words for 10 minute flash papers, or

100 words for poster presentations

All abstracts are to be submitted by Wednesday 25th November 2015 to Sophie and Teresa,
at: sophie.burton@bristol.ac.uk and teresa.witcombe@bristol.ac.uk

For all additional information, please contact: sophie.burton@bristol.ac.uk and
teresa.witcombe@bristol.ac.uk

Monumental Brass Society visit to Newark (17 Oct 2015)

Newark, Nottinghamshire, St Mary MagdaleneMonumental Brass Society: Newark-on-Trent, Nottinghamshire

Saturday, 17th October 2015 at 2.00p.m.

The church of St Mary Magdalene, Newark-on-Trent, is a product of the ‘building boom’ of the 14th and 15th centuries. The townsmen and their families were the principal benefactors of the church paying for the reconstruction, providing its furnishings and establishing personal chantries and memorials to aid their way to salvation. The earliest surviving brass is the magnificent Flemish brass for the merchant Adam Fleming (1361) one of the foremost merchant monuments of the fourteenth century.

Brasses for other townsmen John Boston (1540) and William Phyllpott (1557) are to be found in the south choir aisle. To the south of the high altar is the Chantry Chapel for the Robert Markham complete with early sixteenth century panels depicting ‘The Dance of Death’ complete with a dancing skeleton.

Programme:

2.00p.m.          Welcome
by Martin Stuchfield, President of the Monumental Brass Society

2.05p.m.          The Church of St Mary Magdalene Newark
by Philip Dixon

2.30p.m.          ‘Tis the sheep have paid for all’: Merchant Commemoration in Late Medieval Newark
by John Lee

3.00p.m.          Adam Fleming and his Brass: Context and Meaning
by Paul Cockerham

Members will have an opportunity to view the church and its monuments before. Tea will be available at the conclusion of the day with donations going towards the maintenance and running of the church.

The Church will be open prior to the meeting.

This meeting is free for members and non-members of the Society but registration is required by contacting the Hon. Secretary, Christian Steer, 8 Shefford Lodge, Link Road, Newbury, Berkshire, RG14 7LR (e: christianosteer@yahoo.co.uk).

The church dedicated to St. Mary Magdalene is located in Church Walk in the centre of Newark. The postcode for satellite navigation is NG24 1JS. The nearest station is Newark North Gate (served from London: Kings Cross) with a walking distance of 0.6 miles (12 minutes).