Author Archives: costanzabeltrami

Medieval Job! Assistant Professor (fixed term), Christian and medieval archaeology, Ca’ Foscari, Venice

Deadline: 2nd March 2020

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Ca’ Foscari invites applications for a non-tenured position for an Assistant Professor in the area of Christian and medieval archaeology.

Ca’ Foscari is a research intensive institution committed to competing for international scientific excellence through the recruitment of the best academic talents worldwide. Talented young researchers and experienced senior professors make Ca’ Foscari a stimulating environment for career development and research freedom. Our university is committed to research excellence, funding promising researchers and developing international partnerships. As a leading research university, Ca’ Foscari explores cutting-edge research directions across disciplinary boundaries, setting a new agenda designed around six global challenges.

Ca’ Foscari is looking for a researcher in the area of Christian and medieval archaeology capable of inspiring students to become game-changers in their own fields and to make a genuine difference in the world.

The position will be hosted at the Department of Humanities, a center for the development of innovative and interdisciplinary approaches to history, literature, classics, archeology, art and anthropology. The Department has recently received the “Department of Excellence” Award by the Italian Ministry of Education, Universities and Research. The Excellence Award has allowed the department to receive additional state funding to develop innovative projects on Digital Humanities and Public Humanities, with the aim of setting in motion a cross-contamination process between scientific areas and redefining a new teaching standard.

In the Department of Humanities, Marie Skłodowska-Curie fellows and ERC awardees work together with the permanent faculty, creating a vibrant academic environment.

The Institution

Since its foundation in 1868, Ca’ Foscari University of Venice has been a leader in Economics and Foreign Languages and Cultures. Today, Ca’ Foscari is exploring new frontiers in research, focusing on Climate Change, Digital Humanities, Digital and Social Innovation, and Nanosciences. An intellectual powerhouse of international repute in the heart of the city of Venice, Ca’ Foscari provides a one-of-a-kind blend of scientific research, cultural heritage and history, offering a life-changing experience to its students and researchers, with a transformative impact on the local community.

Ca’ Foscari University of Venice has also obtained the full Human Resources Strategy for Researchers certificate, a set of initiatives to improve work conditions for researchers and to attract talents worldwide. Ca’ Foscari provides applicants with exclusive services and onboarding initiatives. Our Housing office will help you search for a suitable and convenient accommodation, matching your needs and preferences with the available options.

If you are a non-Italian applicant or if you have resided outside of Italy for more than 3 years, you will benefit from a favorable tax treatment for the first 4 years of the contract.

Read the call here: https://intra.unive.it/plapps/bandi/common/showbando?id=32360

Source : Jobs.ac.uk

CFP: [IN]MATERIALITY IN MEDIEVAL ART, Universidad Complutense de Madrid, November 12–13, 2020

1594-2020-01-11-cartel20congreso61CALL FOR PAPERS:
[IN]MATERIALITY IN MEDIEVAL ART
Universidad Complutense de Madrid, November 12 – 13, 2020

Deadline: Apr 3, 2020

Ovid’s aphorism «Materiam superabat opus», evoked throughout the Middle Ages and beyond, reveals the special consideration given to skill, technique and craft in the artistic creation processes. Thus, ingenuity and mastery have been privileged qualities in our approach to works of art, according to a restricted vision assumed by Art History as a discipline. However, both the aesthetic reflections and the documents related to artistic commissions in the Middle Ages show the great importance given to the material and sensory aspects of artefacts and monuments. In line with this perception, once again valued in light of the «material turn» of the discipline in the last decades, the 14th Jornadas Complutenses de Arte Medieval propose to focus on materiality as an essential factor in the artistic production, as well as on the poetics of immateriality and the intangible condition of the aesthetic experience.

Beyond the technical analyses, which in recent decades have allowed us to reconsider common places in the study of the medieval artistic production, this congress aims to establish transversal debates in order to open up new perspectives. In this sense, the material conditions of artistic production (properties, supply, cost, transport or technology, among others), as well as their reflection in the written sources –from technical treatises to documentary and literary references– will be discussed. On the other hand, the congress will address issues related to the sensorial features of the medieval works of art and their relationship with intangible aspects, such as the material and chromatic qualities, the incidence of light, the acoustic and olfactory effects, and the impact of the natural environment. The poetics of the materials, their meaningful uses, and the symbolic values of the immaterial will have room in the debates. Likewise, it will be of interest to consider new interpretative concepts, such as «transmateriality» and «transmediality», which may include the morphological transformation of elements across different materials, the transfer and circulation of ornamental patterns, or the physical traces of mental, invisible or transient phenomena. Contributions that address non-hegemonic and / or under-treated practices and media in historiography are especially welcomed.

Proposed topics include (but are not limited to):

– Material conditions of artistic creation.
– Underrated practices and media.
– Poetics and semantic uses of the material and the intangible.
– Cultural history of materials.
– Sensoriality and immateriality.
– «Transmateriality» and «transmediality».

Confirmed keynote speakers: Miquel Àngel Capellà Galmés (Universitat de les Illes Balears), Vincent Debiais (CRH – Centre national de la recherche scientifique), Beate Fricke (Universität Bern), Ruggero Longo (Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte), María Teresa López de Guereño Sanz (Universidad Autónona de Madrid), José Miguel Puerta Vílchez (Universidad de Granada), Laura Rodríguez Peinado (Universidad Complutense de Madrid), Elisabetta Scirocco (Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte), Noelia Silva Santa-Cruz (Universidad Complutense de Madrid), Ana Suárez González (Universidade de Santiago de Compostela), Jorge Tomás García (Universidad Autónoma de Madrid).

Call for papers:

Researchers interested in submitting a 20-minute paper on any of the topics listed above are invited to send their proposals in Spanish, English, French, Italian and Portuguese, including the following information:

– Title of the paper proposal.

– Name and surname of the author and email address.

– Abstract of about 500 words.

– Brief academic and research CV of about 300 words.

The proposals should be sent to the email address inmaterial@ucm.es by 3 April 2020. Authors will be notified of the outcome by 8 May 2020. Selected papers will be published later in a collective volume after peer review.

More info: https://www.ucm.es/historiadelarte/14thjornadasmedieval

CFP: Travelling Objects, Travelling People: Art and Artists of Late Medieval and Renaissance Iberia and Beyond, c. 1400–1550, The Courtauld Institute of Art, 28–29 May 2020

CALL FOR PAPERS – deadline tomorrow

 

Anonymous Portuguese cartographer, Cantino Planisphere (detail), ca. 1502. Map on parchment, 220 x 105 cm. Biblioteca Estense Universitaria, Modena, Italy. Source: Wikimedia Commons.

Travelling Objects, Travelling People aims to nuance our understanding of the exchanges and influences that shaped the artistic landscape of Medieval and Renaissance Iberia. Traditional narratives hold that late fifteenth-century Iberian art and architecture were transformed by the arrival of artists, objects and ideas from France and the Low Countries, while 1492 marked a chronological rupture and the beginning of global encounters. Challenging these perceptions, this conference will reconsider the dynamics of artistic influence in late medieval Iberia, and place European exchanges in a global context, from Madeira to Santo Domingo. Bringing together international scholars working on Spain, Portugal and a range of related geographies, it seeks to address the impact of ‘itinerant’ artworks, artists and ideas, and issues of migration and non-linear transfers of materials, techniques and iconographies.

The theme of ‘travellers’—artists who reached or departed the region, at times more than once in their lives, but also objects and concepts imported and exported—will expand and inflect traditional narratives of late medieval and Renaissance art, underscoring the complexity of global interactions and exchanges which connected the Iberian peninsula to Europe and beyond. Bringing together international scholars working on Iberia and a range of related geographies, the conference seeks to address the impact of ‘itinerant’ artworks, artists and ideas, and to expand the field of analysis beyond Europe to encompass relationships with newly acquired dominions, from Madeira to Santo Domingo.

Topics for papers may include, but are not limited to:

  • Iberian artists employed abroad, from the master mason Guillelm Sagrera in Naples, to the sculptor Juan de la Huerta at the Chartreuse de Champmol
  • The close imitation of northern artists in such works as the Portuguese copies of Quentin Metsys’s The Angel Appearing to Saints Clara, Colette and Agnes (early 16th century, Museu de Setúbal / Convento de Jesus, Portugal)
  • ‘Iberian’ objects produced elsewhere, for example Christian ivory carvings made in Goa or Kongo, Afro-Portuguese spoons, and Mexican ‘feather-work’ adopting the vocabulary of northern European late Gothic painting
  • Works made for a non-Iberian audience but purchased and displayed by local patrons.

By encouraging conversations across such seemingly disparate topics and geographies, the conference aims to position the Iberian artistic landscape within the networks of artistic exchange that spanned the medieval and Renaissance worlds, challenging the significance of 1492 as a moment of rupture between the Middle Ages and Early Modern periods.

Proposals are welcome from postgraduate, early-career and established researchers working in all relevant disciplines. Please send a title and an abstract of no more than 300 words together with a short CV and 100-word biography to Costanza.Beltrami@courtauld.ac.uk and Sylvia.Alvares-Correa@history.ox.ac.uk by Friday 10 January 2020.

Papers should not exceed 20 minutes in length. Successful candidates will be notified by 17 February. In the first instance, applicants are encouraged to apply to their home institution for travel and accommodation funding. The organisers hope to provide financial support for travel and accommodation to speakers who require it. This conference is made possible by the kind generosity of Sam Fogg.

Please click here for more information.

CFP: Travelling Objects, Travelling People: Art and Artists of Late Medieval and Renaissance Iberia and Beyond, c. 1400–1550, The Courtauld Institute of Art, 28–29 May 2020

CALL FOR PAPERS

Deadline – Friday 10 January 2020

Anonymous Portuguese cartographer, Cantino Planisphere (detail), ca. 1502. Map on parchment, 220 x 105 cm. Biblioteca Estense Universitaria, Modena, Italy. Source: Wikimedia Commons.

Travelling Objects, Travelling People aims to nuance our understanding of the exchanges and influences that shaped the artistic landscape of Medieval and Renaissance Iberia. Traditional narratives hold that late fifteenth-century Iberian art and architecture were transformed by the arrival of artists, objects and ideas from France and the Low Countries, while 1492 marked a chronological rupture and the beginning of global encounters. Challenging these perceptions, this conference will reconsider the dynamics of artistic influence in late medieval Iberia, and place European exchanges in a global context, from Madeira to Santo Domingo. Bringing together international scholars working on Spain, Portugal and a range of related geographies, it seeks to address the impact of ‘itinerant’ artworks, artists and ideas, and issues of migration and non-linear transfers of materials, techniques and iconographies.

The theme of ‘travellers’—artists who reached or departed the region, at times more than once in their lives, but also objects and concepts imported and exported—will expand and inflect traditional narratives of late medieval and Renaissance art, underscoring the complexity of global interactions and exchanges which connected the Iberian peninsula to Europe and beyond. Bringing together international scholars working on Iberia and a range of related geographies, the conference seeks to address the impact of ‘itinerant’ artworks, artists and ideas, and to expand the field of analysis beyond Europe to encompass relationships with newly acquired dominions, from Madeira to Santo Domingo.

Topics for papers may include, but are not limited to:

  • Iberian artists employed abroad, from the master mason Guillelm Sagrera in Naples, to the sculptor Juan de la Huerta at the Chartreuse de Champmol
  • The close imitation of northern artists in such works as the Portuguese copies of Quentin Metsys’s The Angel Appearing to Saints Clara, Colette and Agnes (early 16th century, Museu de Setúbal / Convento de Jesus, Portugal)
  • ‘Iberian’ objects produced elsewhere, for example Christian ivory carvings made in Goa or Kongo, Afro-Portuguese spoons, and Mexican ‘feather-work’ adopting the vocabulary of northern European late Gothic painting
  • Works made for a non-Iberian audience but purchased and displayed by local patrons.

By encouraging conversations across such seemingly disparate topics and geographies, the conference aims to position the Iberian artistic landscape within the networks of artistic exchange that spanned the medieval and Renaissance worlds, challenging the significance of 1492 as a moment of rupture between the Middle Ages and Early Modern periods.

Proposals are welcome from postgraduate, early-career and established researchers working in all relevant disciplines. Please send a title and an abstract of no more than 300 words together with a short CV and 100-word biography to Costanza.Beltrami@courtauld.ac.uk and Sylvia.Alvares-Correa@history.ox.ac.uk by Friday 10 January 2020.

Papers should not exceed 20 minutes in length. Successful candidates will be notified by 17 February. In the first instance, applicants are encouraged to apply to their home institution for travel and accommodation funding. The organisers hope to provide financial support for travel and accommodation to speakers who require it. This conference is made possible by the kind generosity of Sam Fogg.

Please click here for more information.

New Publication: Kirstin Kennedy, Alfonso X of Castile-León: Royal Patronage, Self-Promotion and Manuscripts in Thirteenth-century Spain (Amsterdam University Press, 2019)

9789462988972_promAlfonso X ‘the Learned’ of Castile (1252–1284) was praised in his lifetime as a king who devoted himself to discovering all worldly and divine knowledge. He commissioned chronicles and law codes and composed poems to the Virgin Mary, he gathered together Jewish scholars to translate works of Arab astrology and astronomy, and he founded a university of Latin and Arabic studies at Seville. Moreover, according to his nephew Juan Manuel, Alfonso was careful to ensure that ‘he had leisure to look into things he wanted for himself’. The level of his personal involvement in this literary activity marks him out as an exceptional patron in any period. However, Alfonso’s relationship with the arts also had much in common with that of other thirteenth-century European royal patrons, among them his first cousin, Louis IX of France. Like his contemporaries, he relentlessly used literary works as a vehicle to promote his royal status and advance his claim to the imperial crown. His motivation for the foundation of the university at Seville was arguably political rather than educational, and instead of promoting institutional learning during his reign, Alfonso preferred to direct the messages about his kingship in the lavish manuscripts he patronized to a restricted, courtly audience. Yet such was the interest of the works he commissioned, that those who could obtain copies did so, even if these were still incomplete drafts. Three codices traditionally held to have been copied for Alfonso in fact show how this learning reserved for the few began to filter out beyond the Learned King’s immediate circle.

Kirstin Kennedy is a curator of metalwork (specializing in silver) at the Victoria and Albert Museum, London. She previously held a British Academy Post-Doctoral Fellowship at King’s College London, in the Department of Spanish and Spanish American Studies (2000–2003).

Please click here for more information.