Register and find out more here.
Please register for more details. The platform and log in details will be sent to attendees at least 48 hours before the event. Please note that registration closes 30 minutes before the event start time. If you have not received the log in details or have any further queries, please contact researchforum@courtauld.ac.uk.
From the chalices that glisten behind glass museum cases to the ritual staging of powerful relics, from the architectural fragments of once towering cathedrals to fresco schemes designed to envelope the senses of the viewer, the display and location of medieval art and architecture matter. Though often meticulously designed and executed for specific temporal and physical loci, objects frequently moved – whether purposefully, forcefully or even only imaginatively – into new contexts and topographies. Natural disasters, wars and religious conflicts – the 1202 Syria earthquake, the 1204 Sack of Constantinople, St Lucia’s Flood in 1297, or the 1492 expulsion of Jews from Spain, amongst many others – contributed to the displacement of people, objects and buildings.
Surviving sources – whether written or visual – affirm that the reciprocal relationships between objects and their sites were integral to medieval viewers’ experience of art and architecture. At a time when access to artworks and cultural sites has been largely disrupted by the current pandemic, addressing the question of how medieval art was uprooted and its display reconfigured is especially pertinent. The Courtauld’s 26th Annual Medieval Postgraduate Colloquium has invited speakers from various academic fields (including, but not limited to, art history, archaeology, material culture and conservation studies) to consider various forms of displacement and their visual and experiential implications for medieval art and architecture.
The Courtauld’s 26th Annual Medieval Postgraduate Colloquium: ‘Display and Displacement in Medieval Art and Architecture’
Day 1 – Thursday 18th February, 11:00 – 15:45
11:00 Welcome
11:10 Session 1: Artworks on the Move
Anna Henningsson (Technical University of Berlin) – Displaced Authenticity: Medieval Wall Paintings in Transformation
Anja Katharina Frisch (Martin Luther University Halle-Wittenberg) – English Medieval Alabaster Sculpture in Context: Modes of Reframing and Use across Continental Europe
11:50 Discussion
12:10 Break
12.25 Session 2: Displaying Communities
Elena Lavrentyeva (Institute of Theory and History of Architecture and Urban Planning, Moscow) – “Talking” sculptural decoration of the Church of Resurrection in Jerusalem as the identification of the Christian communities guarding the Holy Sepulchre in the 12th century
Yeidy Rosa (Durham University) – Hidden and Revealed: Jewish-Muslim-Christian Relations, Women’s Power and Family Feuds Through a Recently Uncovered Mural of the Lamentation in the Cathedral of Albarracín, Teruel, Aragon, Spain, XV Century
13:05 Discussion
13:25 Lunch
14:15 Session 3: Accessing Place: Imagination and Proximity
Michele Guida Conte (Università degli Studi di Bergamo) – When Sacred Objects Shape Architecture: Santa Corona in Vicenza
Florian Abe (Bibliotheca Hertziana) – Visualising Measurements – The Problem of ‘Original’ and (Proto)Type in Late Medieval Stations of the Cross
Kevin Vogelaar (Independent Researcher) – Hearts Hard as Flint: Frankish Reception of Chinese Pilgrims and Relic Accessibility in the Late 13th Century
15:15 Discussion
15:45 End of Day 1
Day 2 – Friday 19th February, 11:00 – 16:00
11:00 Welcome
11:05 Session 4: Shifting Contexts: Display and Displacement
Julia Faiers (University of St Andrews) – The displacement and re-presentations of the Combefa Entombment sculptures
Jamie Haskell (The Courtauld) – Set in stone? Shifts in the display of sculpture and wall paintings in the cloister of Pamplona Cathedral
Iñigo Salto Santamaría (Technische Universität Berlin) – The power of temporary exhibitions – The Bayeux Tapestry at the Louvre (1803/1944)
12:05 Discussion
12:35 Break
12:50 Session 5: Destroying and Salvaging
Chiara Capulli (University of Cambridge) – Salvaging the Beata Umiltà: Vallombrosan visual identity after the 1529 Guasto of Florence
Julian Wood (Oxford University) – ‘Remnants of Consubstantiality? Shattered images and Immanence in Byzantine Iconoclasm’
13:30 Discussion
13:50 Lunch
14:50 Session 6: Enshrining the Past
Samuel Dawson (The Courtauld) – Reframing Ambrogio Lorenzetti’s Badia a Rofeno altarpiece as a work of Olivetan patronage
Claire Jensen (University of Toronto) – The Madonna of the Healed: [Re]framing an Annunciation Panel Painting in Aversa
15:30 Discussion
15:50 Closing Remarks by Dr Tom Nickson (The Courtauld)
16:00 End of Day 2
Medieval Art Research 
The Metropolitan Museum of Art’s Head of King David, #38.180 is not King David and is not from Notre Dame Cathedral, Paris. This is all false information. Not only is the museum head a modern creation by George Demotte from his Paris workshop the museum head was found in a curiosity shop in 1938 by James Rorimer. I have all of the documentation and correspondence from the acquisition file. You can Google: Robert Walsh King David. Thank Thank you.
On Fri, Jan 29, 2021, 7:53 AM Medieval Art Research wrote:
> Roisin Astell posted: ” Register and find out more here. Please register > for more details. The platform and log in details will be sent to attendees > at least 48 hours before the event. Please note that registration closes 30 > minutes before the event start tim” >
Regarding your upcoming event. Will there be discussion on the subject of false attribution and provenance issues in museum collections?