Category Archives: Uncategorized

INSCRIBING COLONIALISM IN FIFTEENTH-CENTURY PORTUGAL, 26 MARCH 2019, QMUL, London

The next meeting of the Maius Workshop will take place tomorrow, 26 March, 4:30–5:30pm, in room Law G3 at QMUL (335 Mile End Rd, London E1 4FQ). Click here for a map of the Campus.

Jessica Barker, Lecturer in Medieval History at the Courtauld Institute of Art, will lead a seminar entitled Inscribing Colonialism in Fifteenth-Century Portugal. The session will consider inscriptions, readability and visibility in funerary monuments, and their intersections with early Portuguese explorations in West Africa.

Maius is a friendly platform for informal dialogue and collaborative research. Our sessions are open to all, and research in early stages of development is especially welcome. We look forward to seeing you at this event, and please feel free to email us with ideas and suggestions for future meetings.

Image: Detail of inscription on the north side of the monument to João I and Philippa of Lancaster, 1426–34. Founder’s Chapel, monastery of Santa Maria da Vitória, Batalha. Photo: Jessica Barker.

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Jessica Barker, ‘Inscribing Colonialism in Fifteenth-Century Portugal’, 26 March 2019, QMUL

Maius image

The next meeting of the Maius Workshop will take place on 26 March, 4:30–5:30pm, in room Law G3 at QMUL (335 Mile End Rd, London E1 4FQ). Click here for a map of the Campus.

Jessica Barker, Lecturer in Medieval History at the Courtauld Institute of Art, will lead a seminar entitled Inscribing Colonialism in Fifteenth-Century Portugal. The session will consider inscriptions, readability and visibility in funerary monuments, and their intersections with early Portuguese explorations in West Africa.

Maius is a friendly platform for informal dialogue and collaborative research. Our sessions are open to all, and research in early stages of development is especially welcome. We look forward to seeing you at this event, and please feel free to email us with ideas and suggestions for future meetings.

Image: Detail of inscription on the north side of the monument to João I and Philippa of Lancaster, 1426–34. Founder’s Chapel, monastery of Santa Maria da Vitória, Batalha. Photo: Jessica Barker.

Conference: Innovation in Stone: Medieval Stone Sculpture from the Van Horne Collection, Sam Fogg, London, April 26th, 2019

19155_detail.jpgA symposium to be held in conjunction with the exhibition ‘Innovation in Stone: Medieval Stone Sculpture from the Van Horne Collection’ at Sam Fogg (April 26th, 2019; 4:00 – 6:00 pm).

The exhibition presents stone sculpture, gathered together over several decades by the New York collectors Alexandra and Charles van Horne. Formerly occupying prominent places in other well-known collections, the works reflect van Horne’s fascination with objects that bear a resemblance to modern art of the early 20th century. There are the Romanesque ‘Picassos’, Celtic ‘Modiglianis’ and ancient ‘Henry Moores,’ and a wealth of research material that visualises the links between modernism and medieval art, which modernist artists themselves emphasised.

This emphasis is also reflected in the symposium, which examines stone sculpture from the 12th-century, a time when innovation and curiosity dominated the architectural and sculptural world. There was a tension with and an awareness of the classical past and an anticipation of change, which would be realised in the Gothic period, and it is within this dichotomy that the Van Horne collection is situated. The changes to architecture and sculpture in the 12th century allowed the art of the Middle Ages to let go of its grip on the ancient past and confidently look forward to its own distinctive style. The sculpted heads and architectural fragments, presented together publicly for the first time in the accompanying exhibition, originate in some of the most innovative and influential sites of 12th- and 13th-century Europe: Cluny, Toulouse, Paris, Parthenay. Having been separated from their context, they invite us to imagine the extraordinary sites in which they were invented, and the innovative sculptors who created them.

The lectures and discussions will be followed by a drinks reception and the opening of the exhibition in the gallery on Clifford Street.

PROGRAMME:

4:00 Introduction

4:10 Medieval Sculpture in Multiples: Illuminating Riddles for the Perplexed

(Charles Little, Metropolitan Museum of Art)

4:35 Focillon’s Jongleur or How to Define Creativity in Twelfth-Century Sculpture

(Alexandra Gajewski, Burlington Magazine)

5:00 Discussion

5:10 In-conversation with Charles van Horne

5:40 Discussion

5:50 Concluding Remarks and Introduction to the Show

6:00 Drinks Reception and Exhibition Opening in Clifford Street

Please register on EVENTBRITE. Contact jana@samfogg.com for any further questions.

Job: Teaching Fellow in Architectural History and Heritage, University of Edinburgh

1200px-university_of_edinburgh_ceremonial_roundel.svg_Teaching Fellow in Architectural History and Heritage
Edinburgh School of Architecture and Landscape Architecture (ESALA)
Edinburgh College of Art

Closing Date: 5pm (GMT) on 15 March 2019

Click here for full details of this post and for the application form

Applications are invited for a fixed-term 0.7 FTE (24.5 hours per week) Teaching Fellowship in Architectural History and Heritage. The successful applicant will work within a long-established, leading programme in the history and theory of architecture, and will have expertise and experience in teaching architectural history in the contexts of architecture, history of art, and heritage studies to a high quality. You will have the skills to conceive effective and creative pedagogies and deliver these to support courses in the undergraduate and postgraduate programmes in architectural history, theory, and heritage in the Edinburgh School of Architecture and Landscape Architecture [ESALA].

You will have good communication skills, augmented by a wide and deep knowledge of architectural history and its scholarly traditions. Applications that demonstrate established skillsets in the practical aspects of architectural history and heritage, including historic building analysis and assessment, surveying, digital capture, and CAD, are especially welcome. These will be evidenced by appropriate expertise and academic achievement, and through teaching and assessment experience. You will also be able to demonstrate the ability to develop innovative teaching in classroom (lecture and seminar/tutorial) and field-research environments, including the preparation of online teaching support resources for students.

You will have a PhD-level degree in architectural history or related discipline, and have the ability to collaborate with a collegiate group committed to delivering innovative pedagogy and critical thinking through our School’s position in the University’s Edinburgh College of Art.

The post is part-time (0.7 FTE), fixed-term for 3 years.

This position is tenable from 1 August 2019 or as soon as possible thereafter.

Salary Scale: Grade UE07, £33,199 – £39,609 per annum pro rata

 

Conference: Scaling the Middle Ages: Size and Scale in Medieval Art, The Courtauld Institute, London, 8 February 2019

image-1024x745The Courtauld Institute of Art 24th Annual Medieval Postgraduate Student Colloquium 

Scaling the Middle Ages: Size and scale in medieval art 

10:00–18:00 Friday 8 February 2019 (with registration from 9:30) 

Lecture Theatre 1, The Courtauld Institute of Art, Vernon Square, Penton Rise, London WC1X 9EW 

Size mattered in medieval art. Whether building a grand gothic cathedral or carving a minute boxwood prayer bead, precisely how big to make it was a principal concern for medieval artists, their patrons, and audiences. 

Examples of simple one-upmanship between the castles and palaces of lords and kings and the churches and cathedrals of abbots and bishops are numerous. How big to make it was a principal concern for both patrons and makers of medieval art. 

Scale could be manipulated to dramatic effect in the manufacture of manuscripts and the relative disposition of elements within their decorative programmes. Divine proportions – of the Temple of Solomon or the Church of the Holy Sepulchre – were evoked in the specific measurements and configuration of contemporary buildings and decisions were made based on concern with numbers and number sequences. 

Left: North elevation (detail), Sainte Chapelle, Paris (1239-1248). Right: Reliquary of Saints Maxien, Lucien, and Julien (Paris, 1261-1262) Musée nationale du Moyen Âge, Paris. 

In our age of viewing through digital surrogates, the Courtauld Institute of Art’s 24th Annual Medieval Postgraduate Student Colloquium invites its speakers to consider new approaches to issues of size and relative scale in relation to the making, meanings, and study of medieval art. 

The Medieval Postgraduate Colloquium offers the opportunity for research students at all levels from universities across the UK and abroad to present and promote their research. 

Organised by Teresa Lane (The Courtauld Institute of Art) and Oliver Mitchell (The Courtauld Institute of Art) with the generous support of Michael Carter and the Consortium for Arts and Humanities in South-East England.

Programme: Scaling the Middle Ages: Size and scale in medieval art 

9:30-10:00 Registration – Front hall 

10:00-10:10 Welcome – Teresa Lane & Oliver Mitchell (The Courtauld Institute of Art) 

SESSION 1: ARCHITECTURAL MINIATURES Chaired by Giosue Fabiano (The Courtauld Institute of Art) 

10:10-10:30 Sylvia Alvares-Correa (University of Oxford): The use of architecture in a 15th century panorama of the Passion of Christ in Jerusalem: structuring composition or ideology? 

10:30-10:50 Niko Munz (University of York): Architectural ventriloquism in pre-Eyckian panel painting 

10:50-11:10 Antonella Ventura (Independent scholar) Playing with scales: Relationships between monumental architectures and reliquary structures in Umbria and Apulia in the fourteenth century 

11:10-11:30 Discussion 

11:30-12:00 Tea & coffee break (Research Forum Seminar Room, Floor 2) 

SESSION 2: SCALE MODELS Chaired by Bella Radenovic (The Courtauld Institute of Art) 

12:00-12:20 Angela Websdale (University of Kent): Replication and Reproduction: Evoking the Cult of St Edward the Confessor and the Visual Culture of Westminster Abbey and Palace at St Mary’s Church, Faversham 

12:20-12:40 Francesco Capitummino (Independent scholar): The ambo of the Capella Palatina in Palermo, a reduced scale of the Cefalù prototype 

12:40-13:00 Discussion 

13:00-14:00 Lunch (provided for speakers and chairs – Seminar Room 9, Floor 2) 

SESSION 3: THE SCALE OF DEVOTION Chaired by Chloe Kellow (The Courtauld Institute of Art) 

14:00-14:20 Sheridan Zabel Rawlings (University of Manchester): Scale matters: The intentional use of size to depict Christ in John Rylands Library’s Latin MS 344 

14:20-14:40 Matko Marušić (University of Zagreb): Medieval crosses: Scale, typology, materials 

14:40-15:00 Harry Prance (The Courtauld Institute of Art): Miniature materials/ concrete connections: The spaces of Byzantine liturgical objects 

15:00-15:20 Discussion 

15:20-15:50 Tea & coffee break 

SESSION 4: AMPLIFICATION & DISSEMINATION Chaired by Laura Melin (The Courtauld Institute of Art) 

15:50-16:10 Charlotte Wytema (The Courtauld Institute of Art), From abstract idea to scaled-up image: The case of the Virgin with fifteen symbols 

16:10-16:30 Nicolas Flory (The Courtauld Institute of Art), Scaling Patronage in the Duchy of Burgundy: Isabella of Portugal and her Carthusian donations 

16:30-16:50 Discussion 

16:50-17:00 Closing remarks by Professor Joanna Cannon (The Courtauld Institute of Art) 

17:00 Reception With special thanks to Michael Carter for his generous support 

 

Call for Applications: 9th Bern Research Camp for the Applied Arts (Bern, 16–18 May 2019)

dinanderie3b_a_history_and_description_of_mediæval_art_work_in_copper2c_brass_and_bronze_28191029_281479616422329Deadline: Feb 28, 2019

9th Bern Research Camp for the Applied Arts
16 May–18 May 2019, University of Bern, Institute of Art History, Department History of Textile Arts

From the 18th century onwards, the concept of the genius and a preference for the “autonomous” art work led to a separation of the so-called fine arts (painting, sculpture, and architecture) from the applied, decorative or minor arts (gold- and silversmiths’ work, ivories, ceramics, furniture, textiles). The distinction gravely affected the choice of subjects and themes for art-historical research, and crafted objects continue to receive only marginal attention in academic art history, although they were held in high esteem by contemporary patrons, often commanded extremely high prices and played important roles in the representation of both the nobility and wealthy citizens.

The term “treasure art” not only reflects the material value and the extraordinary skills, even virtuosity, manifest in these objects; they often were of particular importance in situations that recent historical research has addressed with a view to symbolical communication and to aspects of performance/performativity. Studies that take the situative and performative contexts into account for which these objects were intended and in which they took effect, have therefore achieved more differentiated evaluations. In recent years, aspects of material culture and materiality have been considered or reconsidered in many disciplines of the humanities; art history in particular has re-established its competence in the study of objects. Analyses of the material qualities of art works, their effects and functions, of specific techniques, the organization of processes and workshop practices substantiate this renewed interest.

Founded in 2009, the Abegg-Stiftung’s Chair for the History of Textile Arts (Prof. Dr. Birgitt Borkopp-Restle) aims at establishing and encouraging an academic discourse on the applied arts from the early middle ages to the present. Material and technical aspects of the applied arts as well as their specific uses, functions and meanings in artistic, historical and political contexts are at the core of the department’s research and teaching. We explicitly seek to contribute to current interdisciplinary discourses on material culture and cultural transfer in the humanities, to studies on the history and practice of collecting and presenting art works, on concepts of space and performativity.

The Bern Research Camp for the Applied Arts, held annually since 2010, invites young scholars whose MA and PhD projects focus on object-based research in the applied arts. The workshop offers them a unique opportunity to present current projects to an audience of young scholars, academics and curators. We propose intensive discussions both of individual projects and of overarching questions and methodological approaches relevant for our themes, and actively encourage networking among the participants and with experienced scholars in the field. The program of presentations and discussions will be complemented by a visit to the Abegg-Stiftung, Riggisberg.

Please send us your proposal for a 30-minute presentation containing a description of your project and your methodological approach (not exceeding 300 words) and a short CV as a pdf-file until 28 February 2019.

Funding will be provided for the participants’ accommodation in Bern; if possible, we will also contribute to your travelling costs.

Please address proposals and questions to:
nora.rudolf@ikg.unibe.ch

Seminar and Book Launch: Speaking Sculptures, Research Forum, The Courtauld Institute of Art (Vernon Square), Wednesday 23 January 2019, 5:00 pm–6:00 pm

2019.01.23_image-600x600Many statues and works of sculpture made in the late Gothic and Renaissance period are represented with mouth open, as if caught in a mid-utterance. These ‘speaking sculptures’ have received remarkably little comment from art historians. What are these speaking statues meant to be saying? And what, as viewers, are we meant to ‘hear’ and respond? The aim of this paper is to begin to unravel this illusion of speech and the agency it implies.

It would be a mistake to dismiss the phenomenon of the ‘speaking sculpture’ as just another virtuoso feature that enhanced the illusion of life and, with it, the persuasive character of a late Gothic art or Renaissance work of art. The illusion of speech creates a different level of engagement and interaction with the viewer: faced with such an image we not only look but ‘strain to hear’. Does this suggest a sort of animation that demands a living presence response? Or does the illusion of speech enhance the potential surrogacy of the statue, ‘enacting’ the hopes of the viewer? Or could it be that a speaking statue is actually ‘saying’ something quite specific that the viewer in some sense might have ‘heard’ as part of their viewing experience. If so, how do we recover the ‘period ear’ to listen in? These are some of the questions that will be addressed.k.-wood-book-cover

Kim Woods is a senior lecturer in Art History at the Open University, and a specialist in northern European late Gothic sculpture. She combines an object-based approach with an interest in materials and cultural exchange. Her single-authored book, Imported Images (Donington, 2007), focussed on wood sculpture. Since then she has been working on alabaster. Her Open University distance learning materials include the Renaissance Art Reconsidered volumes (Yale, 2007) and Medieval to Renaissance (Tate publishing, 2012).

The seminar will be followed by the launch of ‘Cut in Alabaster: a Material of Sculpture and its European Traditions 1330-1530′

Click here to book a free ticket for this seminar.