Category Archives: Upcoming Events

Christie’s Education Antiquity to Renaissance Evening Lecture Series

‘Heaven and Hell ‘by the Master of Avicenna, c. 1432, now in Pinacoteca Nazionale Bologna

‘Heaven and Hell ‘by the Master of Avicenna, c. 1432, now in Pinacoteca Nazionale Bologna

Christie’s Education is delighted to announce the first of our Antiquity to Renaissance Evening Lecture series. This lecture programme is arranged to support the study and understanding of arts from Antiquity to the Middle Ages and Renaissance. It is organised by the Art and Collecting: Antiquity to Renaissance department.

Dr Niamh Bhalla will present “Mapping Otherworldly Spaces in the Late Medieval World.” She was Visiting Lecturer at The Courtauld Institute of Art. Her research focuses on using contemporary theory to open up fresh insights into how classical, byzantine and medieval images were experienced. Dr Bhalla has also been the project coordinator for the Getty-supported research project, Crossing Frontiers: Christians and Muslims and their art in Eastern Anatolia and the Caucasus at the Courtauld Institute.

The lecture will be followed by a drinks reception.

Thursday 23 February 2017 at 6.00 pm

Christie’s Education
153 Great Titchfield Street, London, W1W 5BD
020 7665 4350 | london@christies.edu
Click here to register for this free event.

Future Antiquity to Renaissance Evening Lectures

Thursday 27 April 2017
Dr Caspar Meyer, Birkbeck, University of London, (Title to be confirmed)

Thursday 25 May 2017
Dr Jessica Barker, University of East Anglia, ‘Voices and Ventriloquism in Medieval Tomb Sculpture’,

Conference: The Courtauld’s 22nd Annual Medieval Postgraduate Student Colloquium: Medieval Collaborations

cfp-imageSaturday 4 February 2017
10:00 am – 6:00 pm
Kenneth Clark Lecture, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN,

The traditional art-historical concern of attribution of works of art to specific masters has given way to more nuanced approaches to the artistic production of the Middle Ages that focus on collaborative working practices. Collaborations like that of Simone Martini and Lippo Memmi, the illuminators of the Winchester Bible, or the creators of Opus Anglicanum reveal a complex picture of artistic co-operation. Notions of the single commanding master have been replaced with collaborative artisan activity across disparate media, from the early-medieval cloister to the increasing specialisation of the late-medieval shop.

The Courtauld Institute’s 22nd Annual Medieval Postgraduate Colloquium invites speakers to consider new approaches to artistic collaborations of the Middle Ages, and how conceptions of collaboration have impacted on the study of these works.

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 Meg Bernstein (The Courtauld Institute of Art Kress Fellow 2015-7 / University of California, Los Angeles) and Imogen Tedbury (The Courtauld Institute of Art / National Gallery) with the generous support of The Sackler Research Forum.

Programme
09.30 – 10.00 Registration

10.00 – 10.10 Welcome

Session 1: Networks in collaboration. Chaired by Sophie Kelly (University of Kent)

10.10 – 10.30
Maeve O’Donnell-Morales, The Courtauld Institute of Art
It Took a Village: Collaborations at the Medieval Altar between Donors, Artists and Clerics

10.30 – 10.50
Aude Chevalier, Paris Nanterre Université
Collaborations in medieval copperware craftsmanship: the case study of French copper alloy censers (11th-17th centuries)

10.50 – 11.10
Maggie S. Crosland, The Courtauld Institute of Art
Commission as Collaboration: Untangling Agency in the Book of Hours of Philip the Bold

11.10 – 11.30
Discussion

11.30 – 12.00
TEA / COFFEE BREAK

Session 2: Artists in collaboration. Chaired by Lydia Hansell

12.00 – 12.20
Eowyn Kerr-Di Carlo, The Courtauld Institute of Art
Santa Maria degli Angeli or not? Considering Florentine artistic networks and the painter-illuminators of Fitzwilliam MS 30

12.20 – 12.40
Eleonora Cagol, Technische Universität Dresden
The workshop of Jörg Arzt and Jörg Feiss: winged altarpieces as evidence of artistic collaboration in South Tyrol at the end of the Middle Ages

12.40 – 13.00
Bryan C. Keene, The J. Paul Getty Museum / The Courtauld Institute of Art
Pacino / Pacinesque: Collaborative Choir Book Commissions in Early Trecento Florence

13.00 – 13.20

Discussion

13.20 – 14.30

LUNCH (speakers only)

Session 3: Collaborating across media. Chaired by Teresa Lane

14.30 – 14.50
Ella Beaucamp, Ludwig-Maximilians-University Munich
A joint venture from Venice: Medieval rock-crystal miniatures

14.50 – 15.10
Marie Quillent, University of Picardy Jules Verne
Artistic Collaboration in Medieval Funeral Sculpture in the North of France: the Tomb of Adrien de Hénencourt in the Cathedral of Amiens

15.10 – 15.30
Amanda Hilliam, National Gallery / Oxford Brookes University
Carlo Crivelli and the Goldsmith’s Art: shared aesthetics and technologies

15.30 – 15.50

Discussion

15.50 – 16.20

BREAK

Session 4: Collaborating across time. Chaired by Miguel Ayres DeCampos

16.20 – 16.40
Esther Dorado-Ladera, Independent Scholar
Reuse of Hispanic Muslim architecture during the Middle Ages: Christian interventions in the Aljaferia Palace

16.40 – 17.00
Oliver Mitchell, The Courtauld Institute of Art
Collaboration and conflict in Hugo de Folieto’s Liber de rotae religionis et simulationis

17.00 – 17.20
Costanza Beltrami, The Courtauld Institute of Art
Building and rebuilding the cloister of Segovia Cathedral (1436-1530): collaborations across space and time

17.20 – 17.50

Discussion

17.50 – 18.00
Closing remarks: Joanna Cannon (The Courtauld Institute of Art)

18.00
RECEPTION

View conference programme here.

Lecture, Prof Liz James: ‘Light and colour; dark and shadow’, 5.30pm,Tues 11th October, Courtauld Institute, London

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Church of the Theotokos Pammakaristos (Liz James)

Prof Liz James (University of Sussex): ‘Light and colour; dark and shadow’

Light and colour, darkness and shadow, are all fundamental aspects of works of art in a practical way (can we see the work?), a formal fashion (what colours are used?) and conceptually (why these colours? Why this light or this lighting?). But they are also elements of the work of art that have tended to have a secondary place within the history of art. Through a discussion of Byzantine monumental mosaics, this lecture will consider some of the ways in which light, dark, colour and shade are fundamental elements in the appearance, effectiveness and function of images. 

Liz James is Professor of Art History at the University of Sussex and a Byzantinist. She has been interested in light and colour for a long time, writing her doctoral thesis on colour in Byzantium. She has just finished writing a book about medieval mosaics (provisionally entitled ‘A short history of medieval mosaics’).

Ticket / entry details:

Tuesday 11 October 2016
5:30 pm – 6:30 pm

Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London, WC2R 0RN

This lecture launches the Frank Davis Memorial Series on Light/Darkness

Open to all, free admission

New Exhibition and Events: Opus Anglicanum, Masterpieces of English Medieval Embroidery, V&A Museum, 1 October 2016 – 5 February 2017

opus anglicanum to deleteNew Exhibition: Opus Anglicanum: Masterpieces of English Medieval Embroidery, Victoria and Albert Museum, 1 October 2016 – 5 February 2017

From the 12th to the 15th centuries, England enjoyed an international reputation for the quality of its luxury embroideries, and were frequently referred to as ‘Opus Anglicanum’ (English work). Often featuring complex imagery, and ambitious in their scale and intricacy, they were sought after by kings, queens, popes and cardinals across Europe. This exhibition is the first opportunity in over half a century to see an outstanding range of surviving examples in one place. Paintings, illuminated manuscripts, metalwork and stained glass will be shown alongside, to explore the world within which these exquisite works were created.

Luxury embroideries were made by professional craftsmen and women living in the City of London, some of whom we can still identify by name. London was a hub for commerce, and the embroiderers formed part of an international mercantile network. The rare survivals of this extraordinary period of English art are today scattered across Europe and North America. Some of the embroideries have not been seen in Britain since they were produced.

Book now: vam.ac.uk/opus


 

lossy-page1-1024px-web2c_grevens_sc3a4ngkammare-_detalj2c_grevens_sc3a4ng_-_skoklosters_slott_-_88043-tifEnglish Medieval Embroidery Unpicked, day course, The Lydia & Manfred Gorvy Lecture Theatre @V&A Museum, Saturday 12 November 2016

STUDY DAY: This study day explores the world of England’s Medieval luxury embroideries, known as Opus Anglicanum. We will examine their materials, techniques and design; the patrons and artists involved; and the extraordinary images depicted on them.

During the later Middle Ages, England enjoyed an international reputation for its luxury embroideries, produced for Europe’s greatest patrons including kings, queens, cardinals and popes. This study day will put embroideries in the exhibition Opus Anglicanum: Masters of Medieval Embroidery under the microscope, examining their materials, techniques and design; the patrons and artists involved; and exploring the extraordinary images depicted on them. Leading experts in the field will discuss these questions in what promises to be a fascinating afternoon.

With exhibition curators Glyn Davies and Sally Dormer.

14.00 – 16.30, Saturday 12 November 2016

£35 full, £30 concessions, £15 students


 20160719161621_170Opus Anglicanum: An Introduction to Silk & Gold Embroidery, Workshop, Art Studio @V&A Museum, Saturday 12 November, 10.30 – 16.30

WORKSHOP: Learn the secrets behind the beautiful embroidery techniques of Opus Anglicanum as seen in this exhibition. Sarah will guide you step by step through split stitch fillings, surface couching and underside couching with gold threads on an Opus Anglicanum inspired piece of your own, in this one day introduction to medieval embroidery. All materials included.

Saturday 12 November, 10.30 – 16.30

£92.00, £73.60 concessions

(Lead Image: The Steeple Aston Cope 1330-40 (detail). The Rector and Churchwardens of St Peter and St Paul, Steeple Aston, Oxfordshire. On long term loan to the Victoria and Albert Museum, London.)

CFP: Light and Darkness in Medieval Art, 1200–1450, ICMS, Kalamazoo, May 2017

Call for Papers: Light and Darkness in Medieval Art, 1200–1450 (I–II)

International Congress on Medieval Studies, Kalamazoo, 11-14 May 2017

Sponsored by the International Center of Medieval Art

(Convenors: Stefania Gerevini and Tom Nickson)

Separation of Light and Dark, Sarajevo HaggadahLight has occupied an increasingly prominent role in medieval studies in recent years. Its perceptual and epistemic significance in the period 1200-1450 has been scrutinized in several specialised research projects, and the changing ways in which light and light-effects are rendered and produced in the arts of the Middle Ages, particularly in Byzantium and Islam, are routinely evoked in literature. However, scholarship on these topics remains fragmented, especially for the Gothic period, and comparative approaches are seldom attempted. New technologies of virtual reconstruction and changing fashions of museum display make it an opportune moment to consider these issues in a more systematic manner.

These two sessions will investigate how perceptions of light and darkness informed the ways in which art across Europe and the Mediterranean was produced, viewed and understood in the period 1200–1450. In the late 12th century a key set of optical writings was translated from Arabic into Latin, providing new theoretical paradigms for addressing questions of physical sight and illumination across Europe. At this time theologies of light also gained renewed popularity in the eastern Mediterranean – particularly as a result of the Hesychast controversy in Byzantium, and in connection with Sufi notions of divine illumination in Islam. What correlations can be traced between theories of optics, theologies of light, practices of illumination, and modes of viewing in the Middle Ages? Are there similarities in the ways different religious or cultural communities conceptualised light and used it in everyday life or ritual settings?

These sessions invite specialists of Christian, Islamic and Jewish art and culture to explore the status of light in broader discourses around visuality, visibility and materiality; the interconnections between conceptualizations of light and coeval attitudes towards objectivity and naturalism; and the ways in which light can articulate political, social or divine authority and hierarchies. The session will also welcome papers that address such broad methodological questions as: can the investigation of light in art prompt reconsideration of well established periodizations and interpretative paradigms of art history? How was the dramatic interplay between light and obscurity exploited in the secular and religious architecture of Europe and the medieval Mediterranean in order to organise space, direct viewers and convey meaning? How carefully were light effects taken into account in the display of images and portable objects, and how does consideration of luminosity, shadow and darkness hone our understanding of the agency of medieval objects? Finally, to what extent is light’s ephemeral and fleeting nature disguised by changing fashions of display and technologies of reproduction, and – crucially – how do these affect our ability to apprehend and explain medieval approaches to light?

Proposals for 20 min papers should include an abstract (max.250 words) and brief CV. Proposals should be submitted by 16 September 2016 to the session organizers: Stefania Gerevini (stefania.gerevini@unibocconi.it) and Tom Nickson (tom.nickson@courtauld.ac.uk). Thanks to a generous grant from the Kress Foundation, funds may be available to defray travel costs of speakers in ICMA-sponsored sessions up to a maximum of $600 ($1200 for transatlantic travel). If available, the Kress funds are allocated for travel and hotel only. Speakers in ICMA sponsored sessions will be refunded only after the conference, against travel receipts.

Conference: The Rood in Britain and Ireland c.900-c.1500 (University of York)

Screen Shot 2016-02-03 at 2.51.31 PM2-3 September 2016

King’s Manor, University of York

Keynote Speaker: Dr Julian Luxford, Reader in History of Art, University of St Andrews

 

The rood – understood as the cross itself, and/or the image of Christ crucified – was central to the visual and devotional culture of medieval Christianity. By the late middle ages, a rood was present in monumental form, either painted or sculpted, at the east end of the nave of every church. Yet roods in numerous other forms could be found in ecclesiastical contexts: as images, in various sizes and media – in manuscript illumination, on textiles, and in stained glass. Images of the rood were also to be found within domestic, civic, and military contexts, from the bedroom to the battlefield.

Following recent scholarship that has focused on early medieval roods (Sancta Crux/Halig Rodseries, 2004-2010), and considered monumental roods on the Continent (Jacqueline Jung’s The Gothic Screen, 2013), this conference will bring together established academics, early career and emerging scholars, to share new research and foster debate on the forms and functions of images of the rood in Britain and Ireland c.900-c.1500.

Programme:

Friday 2nd September:
11:30 – 12:50 Session 1
Dr Jane Hawkes (York): Approaching the Anglo-Saxon Sculpted Stone Cross: Rood, Crucifix, Icon?

Heidi Stoner (York): Viking Crucifixion: The Development of the Iconography of the Rood in the Insular World

14:00 -15:20 Session 2
Dr Meg Boulton (York): The Place of the Cross: (re)assessing the Iconography and Significance of Two Late Saxon Roods

Dr Kate Thomas (York): Praying Before the Cross in the Late Anglo-Saxon Church

15:50 – 17:10 Session 3
Sara Carreño López (Santiago de Compostela): Stone Crosses in Public Spaces: Irish, British, and Galician Cases

Dr Małgorzata Krasnodębska-D’Aughton (University College Cork): The Cross of Death and Life: Franciscan Ideologies in Late Medieval Ireland

17:30 Keynote Lecture
Dr Julian Luxford (St Andrews): Answering Crosses: The Rood and Relativity in Post-Conquest England

Saturday 3rd September:
10:00 – 11:20 Session 4
Dr Lucy Wrapson (Hamilton Kerr Institute, Cambridge): Heralding the Rood: Material Hierarchies on Late Medieval English Rood Screens

Dr Philippa Turner (York): The Rood in the Late Medieval English Cathedral: The Black Rood of Scotland Reassessed

11:50 – 13:10 Session 5
Dr Zachary Stewart (Columbia): Roods, Screens and Spatial Dynamics in the Late Medieval English Parish Church

Sarah Cassell (University of East Anglia): Framing the Rood: Fifteenth-Century Angel Roofs and the Rood in East Anglia

14:10 – 15:30 Session 6
Daniel Smith (University of Kent): The Rood and the Doom: Interconnections between the Passion and the Last Judgement in Late Medieval Text and Image

Dr Hollie Morgan (University of Lincoln): ‘As I Lay Me Down to Sleep’: In Bed With Jesus in Late Medieval England

15:30 – 16:15 Roundtable Discussion

For registration and more information, see: https://theroodinbritainandireland.wordpress.com/registration/

Event: ICMA Study Days in New York and Baltimore

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Date: Sunday 20 November 2016 – Tuesday 22 November 2016

In collaboration with Gerhard Lutz and Forum Medieval Art from Germany, the ICMA is co-sponsoring study days in New York and Baltimore in connection with these two exhibitions:

Jerusalem 1000–1400: Every People Under Heaven
New York: Metropolitan Museum of Art

A Sense of Beauty: Medieval Art and the Five Senses
Baltimore: The Walters Art Museum

Each visit will consist of a guided tour to the exhibition with the curator(s) highlighting questions of concept and presentation, and particular objects. The second part will be a tour among ourselves with collaborative discussion of specific highlighted objects and questions.

We expect a great demand for this; only a maximum number of 35 participants can be accommodated.  Although a participation in only one of the two days will be possible, preference will be given to those who would like to attend on both days.

Please see below for the full program. All expenses are to be covered by the individual participant.

To register, please email Ryan Frisinger at icma@medievalart.org with “Study Day Medieval Art” in the subject line and wait for confirmation

THE PROGRAM
SUNDAY November 20 (evening):
New York City
informal dinner

MONDAY November 21
9.30 a.m. – ca. 4:00 p.m.
Jerusalem 1000 – 1400
New York: Metropolitan Museum (main building)

Travel to Baltimore
ca. 8:00 p.m.
Baltimore
informal dinner

TUESDAY November 22
ca. 9:00 a.m. – ca. 4:00 p.m.
Five Senses – Baltimore: Walter Art Museum