Category Archives: Uncategorized

Books roundup: New Publications in Art

magdeburger-reiter-255x330GABRIELE KOSTER, UTA SIEBRECHT. Der Magdeburger Reiter, Schnell & Steiner, 2017, 368 p.
ISBN: 978-3795432027

Der Band versammelt Beiträge namhafter Experten aus den Bereichen Restaurierung, Kunstgeschichte, Geschichte und Rechtsgeschichte, die den aktuellen Forschungsstand zum Magdeburger Reiter als bedeutende Skulptur der mittelalterlichen Kunst- und Kulturgeschichte aus unterschiedlichen Perspektiven präsentieren.

Der Magdeburger Reiter, entstanden um 1240, gilt als das älteste erhaltene freiplastische Reiterstandbild nördlich der Alpen seit dem Ausgang der Antike und ist damit eine der bedeutendsten Skulpturen der mittelalterlichen Kunst- und Kulturgeschichte Europas. Im November 2015 fand aus Anlass der vollendeten Restaurierung des Kunstwerkes im Kulturhistorischen Museum Magdeburg eine interdisziplinäre Tagung zum Magdeburger Reiter statt.
Der dritte Band der Schriftenreihe des Zentrums für Mittelalterausstellungen widmet sich dem Reiterstandbild als mittelalterliches Kunstwerk, städtisches Wahrzeichen und europäisches Erbe. Erstmals liegt damit eine umfassende Publikation zum Magdeburger Reiter vor. Sie präsentiert fächerübergreifend die wissenschaftlichen Beiträge der Tagung, den Untersuchungs- und Restaurierungsbericht sowie eine umfangreiche Fotodokumentation der bedeutenden Skulpturengruppe.

 

JOSÉ ORFILA. Regards panoramiques sur le monde médiéval et Notre Dame de Reims, Godefroy de Bouillon, 2016, 520 p.JOSÉ ORFILA. Regards panoramiques sur le monde médiéval et Notre Dame de Reims, Godefroy de Bouillon, 2016, 520 p.
ISBN: 978-2841913282

24 figures (en couleurs) et 229 photos (dont14 en couleurs) illustrent ce livre à la gloire de l’architecture du monde médiéval. Depuis plus d’un demi-siècle, la pression toujours renouvelée des esthétiques avant-gardistes a modifié notre vision des choses. Nous avons découvert les mérites des arts les plus lointains et les plus anciens que l’on appelait jadis primitifs et qu’il faut honorer désormais du nom de “premiers”, ce qui les pare d’emblée des plus rares vertus. On est même allé jusqu’à les estimer “plus essentiels”. Rien d’étonnant donc que le gothique, celui des 12eme et 13eme siècles trop élaboré, trop conscient de soi et trop éloigné des pulsions basiques ne soit plus en faveur. De nos jours on se doit d’accorder plus de valeur aux masques africains, aux totems amérindiens et aux statues de l’Ile de Pâques qu’à la Ste Chapelle. Et l’évolution politico-culturelle réactivant les voluptueux mirages de l’Orient qui émoustillaient les mâles romantiques, le Français moyen commence à se sentir plus en phase avec le Tajmahal qu’avec la cathédrale de Reims. Car notre époque est avide de “retours aux sources” à condition que ce soient celles des autres et vénère toutes les traditions sous réserve que ce ne soient pas les nôtres. Ce livre rappelle la richesse de notre civilisation mise à l’écart par les bien-pensants.

 

art-nature-237x330NICOLE R. MYERS (ed.). Art and Nature in the Middle Ages, Yale University Press, 2017, 136 p.
ISBN: 978-0300227055

This splendidly illustrated book explores the universal and multifaceted theme of nature as manifested in Western European art of the Middle Ages. Fascinating essays consider the concept in the context of medieval philosophy, theology, and poetry. The masterpieces highlighted here,  from the distinguished collection of the Musée de Cluny, span the 12th through the 16th centuries and include an impressive array of objects destined for both religious and secular purposes—from exquisite stained glass and carved capitals to spectacular enameled jewelry, illuminated manuscripts, and woven tapestries. Art and Nature in the Middle Ages provides an essential understanding of the symbolism and significance of motifs taken from the natural world, as well as the technical mastery of the medieval artisans who produced these remarkable objects.
Nicole R. Myers is the Lillian and James H. Clark Curator of European Painting and Sculpture at the Dallas Museum of Art.

Publication en ligne – Annales de Janua, n° 5

Accès aux articles : ici

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Sommaire :

Editorial – Amélie Rigollet

Souverains et instruments de pouvoir

Les instruments de pouvoir : Excalibur, de la force du guerrier à la puissance du roi – Justine Breton
L’arc, la flèche et le carquois, symboles du pouvoir monarchique dans l’Antiquité – Benoît Lefebvre
Le pouvoir improvisé ? Pourpre impériale et diadème des usurpateurs dans l’Antiquité tardive – Maxime Emion
Nommer le pouvoir. La titulature seldjoukide (XIe-XIIe siècles) – Jean-David Richaud

Des arts aux registres en passant par le paysage urbain : les instruments de pouvoir et leurs multiples facettes

Les trépieds d’Apollon au sanctuaire du Ptoion : instruments religieux du pouvoir politique du Koinon Béotien à l’époque hellénistique ? – Anne-Charlotte Panissié
Communautés religieuses et pouvoirs laïques à Rouen (Xe-XVe siècle) : une histoire de l’appropriation des territoires – Lise Levieux
La domus et son décor de peintures murales : une pratique spatiale et décorative de la rhétorique au service du pouvoir des élites pompéiennes – Clémence Arnault
Les compilations d’archives, instruments du pouvoir ? L’exemple de l’échevinage de Reims au XVe siècle – Emmanuel Melin

CFP: Ars et Scientia (Cleveland, 27 Oct 17)

oresmeCase Western Reserve University, Cleveland, OH, October 27, 2017
Deadline: Jul 16, 2017

Ars et Scientia: Intersections of Science and the Visual Arts

October 27th, 2017

Despite the semantic divide that seems to separate art and science in modern culture, the boundaries between the two disciplines have always been fluid and permeable. From the earliest recorded botanical illustrations, painted on papyrus scrolls in Egypt in the 2nd century AD, to contemporary artist Josh Kline’s use of 3D printing in his work, art and science have long been used in tandem to make sense of the world and explore our place within it. The working notes of printers like Louis-Marin Bonnet as they experimented with the technique of chalk-manner engraving resemble nothing so much as a scientist recording data and observations for his experiments. Representations of the scientist at work in his laboratory also abound, from Pieter Bruegel’s Alchemist to Joseph Wright of Derby’s An Experiment on a Bird in the Air Pump, and serve as social commentaries on the role of the scientist in society. More recently, scientific technologies have proven to be invaluable tools for the modern art historian and museum curator, allowing us to better understand artists’ working methods and materials through the use of imaging technology and chemical analysis. This symposium seeks to foster a re-examination of the complex interactions between artistic and scientific disciplines that are more interdependent than they first appear.

We welcome innovative research papers from graduate students of all disciplines that challenge the divide between humanities and STEM fields. Papers may explore aspects of this topic across any time period, medium, or geographical region.

Topics may include, but are not limited to:

  • depictions of scientists, doctors, astronomers, engineers, etc. at work
  • visual evidence for the transmission of scientific knowledge between cultures scientific diagrams: anatomical, botanical, astronomical, alchemical, etc.
  • technical art history
  • art that incorporates the use of novel technologies: for example early printing or photography, video art, 3D printing aestheticized technology, such as astrolabes and globes microphotography or photographs of patients/specimens
  • descriptions of artistic methodologies in terms of scientific
    experimentation

    For consideration, please submit a 350-word abstract and CV to clevelandsymposium@gmail.com by July 16, 2017. Selected participants will be notified by early August. Paper presentations will be 20 minutes in length, and participants will be invited to author a blog post about their research to be published at clevelandsymposium.tumblr.com.

    Please direct all questions to Aimee Caya and Erin Hein at clevelandsymposium@gmail.com.

CFP – PISTOIA CAPITALE ITALIANA DELLA CULTURA 2017

In occasione di PISTOIA CAPITALE ITALIANA DELLA CULTURA 2017, il Gruppo di Ricerca NUME ha ottenuto la concessione dal Comune di Pistoia per l’organizzazione di una sessione di conferenze (con data da definirsi) che abbiano per oggetto la Pistoia medievale.

pistoia

Pistoia fu già a partire dal V secolo sede vescovile, e vide avvicendarsi numerosi popoli conquistatori, tra Goti, Bizantini, Longobardi, Franchi. Da libero comune nel 1105 alla dominazione fiorentina e lucchese, secondo Villani proprio a Pistoia nacque la lotta tra guelfi e ghibellini. La sua storia e le sue testimonianze materiali sono l’oggetto della nostra indagine.

1. I temi accettati possono spaziare dalla pittura, all’architettura, all’urbanistica, alla storia medievale di Pistoia. Particolare attenzione sarà data ai contributi che affrontino il culto di San Jacopo, patrono della città, e di cui si conserva lo splendido Altare argenteo (1287-1456) nella cattedrale di San Zeno. Il tema può essere affrontato sotto molteplici sfaccettature, dalla questione iconografica a quella storica, dalla dimensione sociale e politica ai rapporti con le grandi vie di pellegrinaggio;

2. Si ricercano massimo n. 5 relatori;

3. Ogni intervento dovrà avere durata massima di 30 minuti;

4. Per partecipare, si prega di inviare un abstract di 300 parole, corredato di un CV, all’indirizzo di posta elettronica: info@nuovomedioevo.it

5. Il termine ultimo per l’invio di una proposta è il 10 MAGGIO 2017;

6. Entro il 15 MAGGIO sarà comunicato l’esito della valutazione. Il giudizio del Gruppo NUME è insindacabile;

7. Il Gruppo NUME si riserva l’utilizzo futuro (previa comunicazione all’autore) del materiale che gli perviene, in pubblicazioni cartacee o sul web.

Maggiori informazioni sul progetto PISTOIA CAPITALE ITALIANA DELLA CULTURA 2017 all’indirizzo web:

http://www.pistoia17.it/it/

CONF: Seeking Transparency (Florence, 19-20 May 17)

Florence, Kunsthistorisches Institut in Florenz – Max-Planck-Institut,
Palazzo Grifoni Budini Gattai, Via dei Servi 51, May 19 – 20, 2017

Medieval Rock Crystals

Seeking Transparency: The Medieval Rock Crystals International Conference
organized by Avinoam Shalem (Riggio Professor, Arts of Islam, Department of art history and Archaeology, Columbia University, NYC) and Cynthia Hahn (Professor of Art History, Department of Art and Art History, Hunter College, NYC)

Like the sea, the history of the production of carved rock crystals during the Middle Ages has its ebb and flow. From Late Antiquity to the age of the great Portuguese expansion, centers of productions of rock crystal rose and fell, and yet the specific knowledge of carving the hard material was kept a closely guarded secret. Royal courts and wealthy churches were eager patrons for the luxurious objects produced by these centers because rock crystal was valued as one of the most desirable and precious of all materials, ascribed mysterious origins and powers, and renowned for both rarity and clarity. The conference Seeking Transparency: The Medieval Rock Crystals to be held on May 19-20 at the Kunsthistorisches Institut in Florenz aims at revealing the global and cross-cultural histories of rock-crystal production in and beyond the lands of the Mediterranean Sea. It investigates varied aspects such as the physical nature of the material, its manufacturing techniques, affiliations to other modus operandi of luxurious objects, like cut glasses and carved precious stones, legends and traditions associated with its aesthetic qualities, as well as issues concerning the historiography of rock crystal.

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EXHIBITION: COLLECTING MEDIEVAL MASTERS NOW

SPRING EXHIBITION: COLLECTING MEDIEVAL MASTERS NOW

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April 29 through June 10, 2017

Opening: MADISON AVENUE GALLERY WALK Saturday, April 29, 2017

The works presented here – manuscripts, miniatures, drawings, and rings – offer a meaningful counterpoint to more recent artistic productions and celebrate the legacy of thoughtful collecting from generations past and present. Highlights of the exhibition include a majestic two volume illustrated manuscript made in the court of King Charles V (reigned 1364-1380), a masterpiece of French Gothic manuscript illumination known as the “Soisson Missal”, a miniature attributed to a follower of Giovanni di Paolo from the collection of Lord Clark of Saltwood, and a Roman ring with message of friendship hidden in its intricate open-work.

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Gesta Volume 56, Number 1 | Spring 2017 is now available online

gestaGesta

Volume 56, Number 1 | Spring 2017

Contents:

Front Cover
Front Matter
Encounter: The Flight into Egypt Capital at Autun
Mary J. Carruthers
“Great Fear”: Epigraphy and Orality in a Byzantine Apse in Cappadocia
Anna Sitz
The Traditio Legis in Late Antiquity and Its Afterlives in the Middle Ages
Armin F. Bergmeier
An Eschatological Mirror: The Romanesque Portal of Beaulieu-sur-Dordogne
Michele Luigi Vescovi
The Conversion of Kalila and Dimna: Raymond de Béziers, Religious Experience, and Translation at the Fourteenth-Century French Court
Amanda Luyster
Invention and Commemoration in Fourteenth-Century England: A Monumental “Family Tree” at the Collegiate Church of St. Martin, Lowthorpe
Jessica Barker
Back Matter
Back Cover