Offer for 1 full-time PhD position for the project ‘Magnificent Architecture: Giving Form to Inherent Greatness in Fifteenth-Century Antwerp, Rouen en Strasbourg’.
The second International Contest FuMast aims to bring together experienced scholars and young researchers engaged in the study of Greek and Latin manuscripts, coming from a variety of countries and scholarly traditions, and working in different and often not directly connected contexts.
International conference organized by Cécile Beuzelin (Lecturer in History of Modern Art, Montpellier 3 University) and Armelle Fémelat (doctor in Art History, CESR Tours), in collaboration with the National Renaissance Museum of Écouen and the Hunting and Nature Museum, Paris.
We are pleased to announce this year’s programme for the IHR seminar European History 1150-1550. All seminars take place on Thursdays at 5.30pm and will be hosted live via zoom.
All lectures will be held at 5.15pm in the Gulbenkian Theatre, Canterbury Campus, University of Kent. Social distancing will be applied in seating.
The Department of Art History at the University of Chicago invites applications for an appointment at the rank of assistant professor with an expected start date of July 1, 2021, or as soon as possible thereafter.
This issue of In_bo aims to shed new light on the many grey areas — within a relatively well-known research field — that have not been studied extensively yet: cities, magistracies, emblematic personalities; documentary, graphic and cartographic sources, either ignored in the past, or looking for a new interpretation; paradigmatic cases of urban images and their dissemination.
Presented by The Royal Asiatic Society, The Islamic Art Circle and the Friends of the Museum for Islamic Art in the Pergamon Museum.
I Tatti, The Harvard University Center for Italian Renaissance Studies in Florence, Italy, warmly invites applications for the 2021-2022 academic year.
This session seeks to sound out ways of how to study connectivity, transcultural entanglements, and the role of and artistic responses to imported artefacts from 500 CE to the present-day in Africa without seeing Africans as passive beings ‘influenced’ by people and objects from afar.