Online Lecture: ‘Intermedial Collaboration: Making the Double-Winged Altarpiece in the Late-Medieval Workshop’ with Dr Laura Tillery, Cambridge Graduate Seminar Series on Intermediality, 17 February 2021, 17:00 – 18:00 (GMT)

For the third ‘Intermediality’ Graduate Research Seminar, organised by the Department of History of Art, University of Cambridge, we are joined by art historian Dr Laura Tillery (Norwegian University of Science and Technology) who will be discussing intermedial collaboration in the medieval workshop, focusing on fifteenth-century multimedia winged altarpieces in Lübeck, Germany and Scandinavia.

Dr Laura Tillery is a Marie Skłodowska-Curie Postdoctoral Research Fellow based at the Department of Art and Media Studies at Norwegian University of Science and Technology. She is a historian of medieval and early modern art of Northern Europe (ca. 1000-1600), Scandinavia, and the Baltic Sea regions. Her current research investigates the mobility of objects across geographies and cultures, the intermediality of altarpieces, and methodological questions concerning medieval viewership.

The series is convened by Anneke de Bont (ad961@cam.ac.uk), Elisabetta Garletti (esg36@cam.ac.uk) and Stella Wisgrill (sw728@cam.ac.uk).

Register here.

Seminars will take place online via Zoom, hosted by the Department of History of Art, University of Cambridge

As the current pandemic is presenting artists and institutions with the challenge to rethink the ways in which art works can be displayed, mediated and circulated, the question of intermediality has returned with new urgency. In the study of art, the concept of intermediality allows us to consider the longstanding history of the arts’ interaction with each other and other disciplines, while challenging the very notion of media specificity that underlies traditional definitions of art historical and academic specialisms, as well as the organisation of museum collections. This seminar series covers a broad time frame, from antiquity to the present day and offers a fresh opportunity to examine and compare the relevance and productivity of this critical concept to the study of art history across different epochs and geographies.