Conference: The Profane within the Sacred in Medieval Art, Aguilar de Campoo, Sept 29th – Oct 1st 2017 (VII Colloquium Ars Mediaevalis)

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Conference: The Profane within the Sacred in Medieval Art, Fundación Santa Maria la Real – Aguilar de Campo (SPAIN), Sept 29th – Oct 1st 2017.

CFP for 20-minute ‘free papers’ open until 30 June 2017
How to apply:
send an email with name, Academic institution, 1 page abstract and main bibliography to plhuerta@santamarialareal.org

How to enrol in the conference: email: plhuerta@santamarialareal.org
Price:
Regular 125 € Reduced 90 € Special (students) 60 €

In his The Elementary Forms of Religious Life, the sociologist Émile Durkheim formulated the idea that the division of the world into two domains is the distinctive feature of religious thought, one containing the sacred and the other all that is profane. Durkheim’s distinction cannot be applied to medieval art, however, in which the mixing of secular motifs in religious objects, images, and architecture was characteristic –at least not without complicating the theoretical notion. The senmurf on the eleventh-century reliquary of St. Matthew in SS. Cosma e Damiano in Rome, the figure copied from Orestes on the ancient Husillos sarcophagus above the altar at Fromista, a fragment of victory killing a barbarian from a consular diptych re-used on a 11th/12th century book cover, and the incorporation of diagrams and motifs from natural science in the “aula gotica” in SS. Quattro Coronati in Rome are among myriad examples that document why this is the case.

In one of the best-known texts related to medieval art, Bernard of Clairvaux railed against the imaginative variety of profane art displayed in twelfth-century Cluniac monasteries, which he considered to be a subversion of the moral order of monastic life. Bernard’s diatribe not only confirms the fact that linking the two realms was common but also raises the question of audience and hence also spatiality. As the anthropologist E. E. Evans-Pritchard postulated, sacredness (and therefore the profane) might be considered as situational, in a chronological as well as in a spatial sense. An object considered sacred in a given period may be considered profane or magical in a different time and/or space; decontextualization and reuse are thus also important issues related to the topic. Profane does not always imply anti-sacred. Indeed, given the fact that profanus means “in front of the consecrated enclosure,” the inclusion of secular elements within sacred domains suggests a dynamic interweaving that extends beyond the mere incorporation of motifs and objects. Sometimes the contacts between the two domains was regulated by rites that provided the conditions within which the relationship was made possible (i.e. consecration); other times, as when natural science was assimilated into the choice and manufacture of materials, the overlapping of sacred and profane underlies the processes of art.

In recent decades, historians have explored the uses of subversive elements in sacred art –from marginalia in illuminated manuscripts to coin-imagery and stamping incorporated in Eucharistic hosts. The conference Ars Mediaevalis 2017 sets out to assess the results of the advances made by the new art historiography and, more important, to open up still-unmapped paths for future study of the profane within the sacred during the Middle Ages.

Programme:

Friday, 29th September
Aguilar de Campoo

09.45h : Colloquium Ars Mediaevalis Opening
Chair: Francesca Español UB

10.00h Michele Bacci, Université de Fribourg – Intrusos en los iconos: perspectivas comparativas sobre los retratos individuales en la iconografia sagrada
10.45h Discussion

11.45h Philippe Cordez, Ludwig-Maximilians-Universität München – Le repentir d’un magicien ? Les camées de la statuette de David à la cathédrale de Bâle (vers 1320)
12.30h Free paper
12.50h Discussion

16.00h Fernado Villansenor, Universidad de Cantabria – Lo profano y sus espacios: discursos marginales en la Castilla tardogótica
16.45h Javier Docampo, Biblioteca Nacional de España – Las representaciones de los trabajos de los meses en libros de horas: la construcción de un imaginario social
17.15 Discussion

17.45 Round table. “Profano: perímetros espaciales, iconicos y semanticos en el arte medieval / Profane: spatial, iconic, and semantic edges in medieval art” Gerardo Boto.

18.45 Public presentation of the new editorial series “Ars Mediaevalis. Estudios de arte medieval”

Saturday, 30th September
Palencia

(Chair: Fernando Gutiérrez Baños UVA)

10.00h Kathrin Müller, Goethe-Universität, Frankfurt am Main Subversive – Devices: Cosmological Diagrams and the Problem of the Sacred
10.45h Free paper
11.05h Discussion

12.00h Beate Fricke, Universität Bern – Representing the Cosmos’ Origins, illuminating cosmological thoughts
12.45h Free paper
13.05h Discussion
16.00h Academic visit: Burgos: Santa María de las Huelgas Reales; Cartuja de Miraflores

Sunday, October 1st
Agilar de Campoo

(Chair: Javier Martínez Aguirre UCM)

09.15h Milagros Guardia, Universitat de Barcelona – Las pinturas murales de Sant Joan de Boi: de como contextualizar la iconografia profana
10.00h Free paper
10.20h Discussion
11.20h Free paper

11.40h Herbert L. Kessler, Johns Hopkins University / Masaryk University – From Vanitas to Veritas: the Profane as a Fifth Mode of Seeing
12.20h Discussion

13.00h Conclusions and perspectives
13.15h Closing ceremony

 

Conference: Romanesque conference at Cuxa (les journées romanes de Cuxa), July 10 -14, 2017

2017-02-28-2This theme for this year’s Romanesque conference at Cuxa (les journées romanes de Cuxa) is the art and architecture of the great abbeys. Papers are in French and are given in the former west range of the abbey of Saint-Michel de Cuxa, according to the programme below. Booking forms can be downloaded fromwww.cuxa.org – or via email on contact@cuxa.org

LES GRANDES ABBAYES ET L’ART ROMAN
Semaine de conférences et de visites, à Saint-Michel de Cuxa (Codalet, Pyrénées-Orientales, France)

Lundi 10 juillet, ouverture :

Michel Lauwers, Université Côte d’Azur, CEPAM (Nice)
Les complexes monastiques de l’Occident médiéval, laboratoires de représentations et de pratiques spatiales singulières

[2017, année Puig i Cadafalch]
Olivier Poisson, association culturelle de Cuxa
Josep Puig i Cadafalch (1867-1956) et Cuxa

visite de l’abbaye : Caroline de Barrau, Olivier Poisson, Emmanuel Garland

Mardi 11 juillet

Christian Sapin, directeur de recherche émérite au CNRS
De Saint-Riquier à Vézelay, l’apport de l’archéologie à la connaissance des monastères

Neil Stratford, membre de l’Institut
Cluny III: autels, choeur liturgique, sépultures

Eliane Vergnolle, professeur honoraire, Université de Franche-Comté
Le chœur de Saint-Benoît-sur-Loire : programme monumental, mise en scène des reliques et liturgie monastique

Christian Gensbeitel, maître de conférences, Université Bordeaux Montaigne
L’église du prieuré clunisien Saint-Eutrope de Saintes, entre culte des reliques et vie monastique.

Maddalena Vaccaro, Università degli studi di Salerno (Italie)
Sous les pieds de la communauté du Mont-Cassin (Montecassino) : espaces architecturaux et décors des pavements.

Mercredi 12 juillet

excursion et visite : abbaye de Lagrasse (Aude), Andréas Hartmann-Virnich, Christian Markiewicz, Nelly Pousthomis,

conférence sur place : Anna Orriols, Universitat Autònoma de Barcelona
Entre souvenir et prestige. Commémorations visuelles dans les abbayes catalanes (XI-XII siècles).

Jeudi 13 juillet

John McNeill, University of Oxford (Grande-Bretagne)
Trois grands monastères clunisiens en Angleterre: Lewes, Castle Acre et Wenlock

Pio Pistilli, Università di Roma “La Sapienza” (Italie)
Architecture bénédictine au Sud de l’Empire. L’adaptation de l’église abbatiale de Farfa à l’époque préromane.

Cécile Treffort, Université de Poitiers, CESCM
Fonder, construire, consacrer une abbaye en Poitou et Saintonge à l’époque romane

Andreas Hartmann-Virnich, Heike Hansen, Aix-Marseille Université (LA3M), Götz Echtenacher, architecte
A la recherche du chœur perdu : Saint-Gilles-du-Gard et Montmajour

17h communications de jeunes chercheurs :

Marie-Pierre Bonetti, doctorante, Aix Marseille Université (LA3M)
Entre innovation et tradition, deux siècles d’architecture romane à l’abbaye Saint-Victor de Marseille.

Anaël Vignet, doctorant, université de Poitiers
L’abbaye de Saint-Amant-de-Boixe

Julie Gonzalez, Université de Pau et des Pays de l’Adour (LITEM)
L’iconographie de l’Enfer et des gueules dévorantes au Moyen Âge. Histoire
d’une forme et de sa représentation.

18h Assemblée générale de l’Association culturelle de Cuxa

Vendredi 14 juillet

matin : excursion/visite : Saint-Martin du Canigou, Olivier Poisson

après-midi :

Marc Sureda Jubany, musée épiscopal de Vic (Catalogne)
La liturgie dans l’abbaye romane : Santa Maria de Ripoll

Scott Brown, University of North Florida (États-Unis)
Amat d’Oloron à l’abbaye de La Sauve-Majeure: l’esprit constructeur et son guide dans l’architecture religieuse en Aquitaine à la fin du XIe siècle

conclusions

Samedi 15 juillet

excursion, visites :
Les abbayes du Vallespir : Arles-sur-Tech, Saint-André, Saint-Genis-des-Fontaines, Caroline de Barrau, Emmanuel Garland, Olivier Poisson.

Conference: Identifying Governmental Forms in Europe, 1100-1350: Palaeography, Diplomatics and History, 3-4 April, 2017, University of Glasgow

2017-02-28Speakers: Richard Sharpe, Kathryn Dutton, Els de Paermentier, Nicolas Ruffini-Ronzani, Sverre Bagge, Sébastien Barret, Alheydis Plassmann, Alice Taylor, Marie Therese Flanagan, Matthew Hammond, John Reuben Davies, László Veszprémy, Jessica Berenbeim, Fernando Arias Guillén, Dauvit Broun

Where: University of Glasgow, 3-4 April 2017

Cost: Free (although not inc. travel and accommodation)

Register: please email alice.taylor@kcl.ac.uk to register

Brief blurb: The origins of the modern state have long been located in the European central middle ages. But the focus on origins has produced a too-narrow view of what government looked like and what kinds of authorities could govern in the central medieval period. This two-day colloquium brings together scholars from across Europe to expand our understanding of medieval government and the influences brought to bear on its expression. Its methodological focus is history’s so-called ‘auxiliary sciences’ of diplomatics and palaeography, inspired by the research aims lying behind the interdisciplinary research project, Models of Authority: Scottish Charters and the Emergence of Government, 1100-1250 (www.modelsofauthority.ac.uk). Both palaeography and diplomatics are traditionally used in studies of medieval government to illuminate the development of bureaucracy and institutional complexity, but here will also be examined to understand the communication and representation of governmental forms in all their varieties, as well as the interplay between them.

More information is attached. If you have any questions, please email alice.taylor@kcl.ac.uk

Lecture: ‘Mea culpa?’ Penitence, Enrico Scrovegni and me, Laura Jacobus, 22 February, 2017, History of Art Department, Birkbeck College

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The Arena Chapel in Padua was until very recently thought to have been built as an act of restitution for usury, and its frescoes by Giotto an expression of penitence on the part of the patron Enrico Scrovegni.  That view has now been challenged by Laura Jacobus and others.  But two of her recent discoveries have the potential to reinforce the established view and undermine her own.  What happens when a researcher comes across inconvenient truths, and what is to be done? 

Seminars take place in the History of Art Department at Birkbeck (43, Gordon Sq., London WC1H 0PD) in Room 114 (The Keynes Library) at 5pm.  Talks finish by 5.50pm (allowing those with other commitments to leave) and are then followed by discussion and refreshments.  We hope to see you there.

Call for Papers: The Regional and Transregional in Romanesque Art and Architecture, Poitiers, 4-6 APRIL 2018

poitiersThe British Archaeological Association will hold the fifth in its series of biennial International Romanesque conferences in association with the Centre d’Etudes Supérieures de Civilisation Médiévale in Poitiers on 4-6 April, 2018.

The theme is The Regional and Transregional in Romanesque Art and Architecture, and the aim is to examine the extent to which regional styles and preferences were important in the material culture of the 11th and 12th centuries. The categorization of Romanesque by region was a cornerstone of 20th-century scholarship, and the subject is ripe for reappraisal, particularly in relation to transregional and pan-European artistic styles and approaches. How might we describe the cultural geography of the Latin West between c.1000 and c.1200? Proposals for papers concerned with the strength, durability, mutability and geographical scope of regional styles are welcome, as are those that review how, if at all, artistic ‘regions’ are aligned with political regions or initiatives. The extent to which media play a role will also be considered. Does portability make a difference – enhancing the potential for artistic exchange? What are the conditions that give rise to the development of transregional styles? Is identification by ‘gens’ rather than locality significant, particularly in areas where political change is effected through conquest? Are regional styles ever extinguished, and if so how and why? Is it appropriate to talk of centres and peripheries? Are materials – marble, brick, bronze – the dissemination and celebration of saints (particularly episcopal saints) – the emergence of civic patronage – the adoption of myths or legends – the assumption of imported motifs – important in affirming regional identity? How effective are the agencies that cut across territorial boundaries?

Proposals for papers of up to 30 minutes in length should be sent to the convenors, John McNeill and Marcello Angheben, on romanesque2018@thebaa.org by 31 May, 2017. Papers should be in English. Decisions on acceptance will be made by 15 June.

The Conference will be held with the CESCM in the historic centre of Poitiers from 4-6 April, with the opportunity to stay on for two days of visits to buildings in the Poitou on 7-8 April.

Conference: ART, ARCHITECTURE AND ARCHAEOLOGY IN LATE MEDIEVAL YORK, BAA, 21-25 July, 2017

york-minsterThe conference convenors are Professor Tim Ayers (University of York), Sarah Brown (University of York), Professor Sarah Rees Jones (University of York) and Philip Lankester (University of York and Royal Armouries). Lectures will cover Art, Architecture and Archaeology in Late Medieval York including introductory surveys of Roman York and Early Medieval and Anglo-Scandinavian York; and papers involving York Castle, York Minster, including the Chapter House; and other late medieval ecclesiastical and secular buildings in York including St Michael-le-Belfrey. Speakers include Peter Addyman, Jeremy Ashbee, Richard Beadle, Sarah Brown, Alex Buchanan, Kate Giles, Jeremy Goldberg, David Harrison, Stuart Harrison, Alex Holton, Ailsa Mainman, Hilary Moxon, Julian Munby, Christopher Norton, Patrick Ottaway, John Oxley Christopher Paterson, Philippa Turner, Lisa Reilly, Sarah Rees Jones, Jayne Rimmer and Mary Shepard.

In York there will be site visits to various parts of York Minster, walking tours south and north of the river which we hope will include St Mary’s Abbey, The Yorkshire Museum, All Saints North Street, Holy Trinity Micklegate, Baile Hill, Clifford’s Tower, St Anthony’s and the Merchant Adventurers’ Halls, Goodramgate, King’s Square, Stonegate and St Helen’s Square. All site visits will be on foot.
Booking forms and cheques (payable to the British Archaeological Association) should be sent to Kate Milburn at 34 Latimer Road, London, SW19 1EP by Friday 21st April, 2017. If you have any questions regarding the conference please email Kate Milburn catherinemilburn@madasafish.com

Early Career Lectureship in Medieval Art at The Courtauld, 3 years, from September 2017

The Courtauld Institute of Art seeks to appoint an Early Career Lecturer in Medieval Art (fixed-term; 3 years from 1 September 2017) to support and deliver teaching in the Department of Art History.

Salary: £35,798 pa (Inc. London Allowance)

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The Courtauld Institute of Art is the UK’s leading institution for teaching and research in Art History and the conservation of paintings; it is also home to one of the finest small art museums in the world.

Closing date: Monday 13 March 2017

Further details: https://jobs.courtauld.ac.uk/Vacancy.aspx?ref=121