Conference: La pierre et l’image. Les disciplines en synergie pour mieux dater les édifices du Moyen Âge (XIIe-XVe s.), Université de Lausanne, October 25–27, 2018

irregular-medieval-stone-wallDepuis quelques décennies l’archéométrie et l’archéologie du bâti connaissent un développement conjoint remarquable. Appliquées aux édifices médiévaux, ces disciplines aident de manière substantielle à leur compréhension : si l’étude des élévations permet de restituer la progression, l’économie et l’organisation du chantier, les méthodes de l’archéométrie permettent, lorsque les matériaux chronologiquement significatifs sont conservés, d’obtenir une datation absolue.
Dans les efforts déployés pour la compréhension de l’édifice et l’établissement de datations scientifiquement argumentées, l’apport de l’image tend à être sous-estimé, voire négligé: de nature interprétative, le style et l’iconographie apparaissent parfois comme des indices de moindre valeur objective. Forts de l’idée que les « savoir-faire » et les « vouloir-dire » sont tout autant révélateurs de l’histoire des édifices, nous nous proposons ici de démontrer que sa pleine et juste compréhension ne peut être obtenue que par le croisement des indices, dans une approche multi- et pluri-disciplinaire.
Dans le cadre de ce colloque les différents acteurs de la recherche sur le monument sont appelés à partager leurs expériences, acquises autour d’un ensemble de monuments ou d’un cas particulier dont la complexité rend nécessaire le croisement des regards. L’intervention concertée des historiens de l’art et de l’architecture, archéologues du bâti, épigraphistes, spécialistes des techniques et des matériaux démontrera la nécessité d’une synergie des disciplines pour mieux comprendre les monuments et obtenir des datations fiables, contribuant ainsi au renouvellement de la recherche dans notre domaine.

Université de Lausanne, bâtiment Extranef, salle 125

Jeudi 25 octobre 2018

Introduction

9h00-9h30
Accueil des participants

Président de séances: Mathieu Piavaux

9h30-10h15
Nicolas Reveyron: introduction et historiographie / le cas de Cluny III

10h15-11h00
Jean Wirth : Pour une approche multidisciplinaire du monument

11h00-11h30
Pause café (salle 221)

11h30-12h00
Barbara Franzé : Saint-Gilles-du-Gard

12h00-12h30
Discussion sur les présentations de la matinée

12h30-14h00
Déjeûner

Après-midi

Président de séances: Nicolas Reveyron

14h00-15h00
Lei Huang et Térence Le Deschault de Monredon : Sainte-Foy de Conques

15h00-15h30
Elodie Leschot: la façade sculptée de Charlieu

15h30-16h00
Pause café

16h00-17h30
La cathédrale de Strasbourg (bras sud du transept) et le passage du roman au gothique
Marc C. Schurr et Ilona Dudzinski

17h30-18h30
Discussions sur les présentations de l’après-midi

Vendredi 26 octobre

Matin. Présidence de séances: Marc C. Schurr

09h00-11h00
Pour un croisement des regards. La datation des collégiales du diocèse de Liège (XIIe-XVe s.)
Equipe dirigée par Mathieu Piavaux (Namur)
Antoine Baudry, Frans Doperé, Patrick Hoffsummer, Aline Wilmet

11.00-11h30: Pause café

11h30-13.00
Approches pluridisciplinaires des monastères aquitains
Equipe dirigée par Christian Gensbeitel
Philippe Lanos, Jean-Baptiste Javel

13h00-15h00 Pause de midi
.
Après-midi. Président de séance: Barbara Franzé

15.00-15.30
La tour-porche de Saint-Savin-sur-Gartempe
Laura Acosta Jacob

15.30-17.00
Dal sepolcro alla basilica : culti e monumenti nell’Abruzzo medievale
Equipe dirigée par Gaetano Curzi
Maria Carla Somma, Carlo Tedeschi.

17.00-17.30 Pause café

17.30-18.30
Discussion sur la session de l’après-midi/de la journée

Samedi 27 octobre

9h30-12h00
Table ronde
Avec la participation de Laurence Terrier Aliferis, Jacques Bujard et Michel Fuchs.

Advertisements

Call for Applications: Seminars on periodization in the history of art, New Europe College, Bucharest

New Europe College, Bucharest
Deadline: Nov 30, 2018

CALL FOR APPLICATIONS
for a series of three one-week seminars on periodization in the history of art to take place at the New Europe College-Institute for Advanced Study in BucharestA program supported by the Getty Foundation as part of its Connecting Art Histories initiative

We propose a series of three seminars of one-week duration each on periodization and related issues in the history of art, whose addressees are to be early-career art historians from East-Central Europe, and which would include a number of invited guest speakers, from this region, and outside it. Though a sense that the conventional periodizations are in need of revision can be detected earlier, a more pointed reflection on this topic can be noticed after the demise of communism and the dismantling of the colonial system. In the aftermath of the 1989 events in the countries of Central and Eastern Europe, a number of scholars felt the pressing need to reconsider the place of local art histories within the established narratives, and to reflect on how these local histories might fit within the Western canon, or to question its authority.

This series of seminars aims, on the one hand, to address questions that are (or so we deem) of interest to art historians in the countries of East-Central Europe in ways that would counter a piece-meal approach, mostly dictated by national borders, in favor of a more unified one, and would provide an opportunity to identify common concerns, and perhaps also case studies that could (or should) encourage cross-border collaboration. A broad framework for researching art historical narratives in the region on a comparative basis is still lacking. There is also limited cross-cultural knowledge at the level of curricula and teaching methodologies. In universities across the region Western Art is researched and taught mostly according to the established periodization and categories (the Middle Ages, Renaissance, Baroque, historical avant-gardes, contemporary art etc.). Should it, and could it be taught differently? There is less consensus regarding the same categories in Eastern and Central Europe, which is not a homogenous cultural entity. Can such a consensus be reached? In what ways would this prove productive?

STRUCTURE AND CONTENT
The Program will consist of a series of three one-week seminars with the participation of up to 20 early career scholars from East-Central Europe, up to 4 keynote/guest speakers, the Coordinator and the Consultants.
During each of the seminars we would expect about a third among the participants to present their work in progress on a case study, which would make for six-seven papers in all. Scholars presenting papers will be identified in advance (and their agreement to do so secured), and papers will be – whenever possible – circulated before the seminar among the participants, so as to make possible a productive, in-depth discussion.

Dates:
– First seminar: mid-May 2019;
– Second seminar: first half of November 2019;
– Third seminar: last week of May 2020

Guest speakers:
Zdenka BADOVINAC, curator and writer, since 1993 Director of the Museum of Modern Art in Ljubljana;

Mieke BAL, Professor of Theory of Literature and founding Director of the Amsterdam School for Cultural Analysis (ASCA), University of Amsterdam;

Patrick FLORES, Professor of Art Studies at the Department of Art Studies at the University of the Philippines, Curator of the Vargas Museum in Manila, and Adjunct Curator at the National Art Gallery, Singapore;

Andrea GIUNTA, Professor of Art History at the Universidad de Buenos Aires and former Chair in Latin American Art History and Criticism at UT Austin;

Krista KODRES, Professor at the Institute of Art History and Visual Culture of the Estonian Academy of Arts, Tallinn, and Head of the Doctoral Curriculum in Art History;

Saloni MATHUR, Professor, Modern and Contemporary South Asian Art, Department of Art History, UCLA;

Matthew RAMPLEY, Professor, Department of Art History, Curating and Visual Studies, Chair of Art History, University of Birmingham;

Miodrag ŠUVAKOVIĆ, Professor of Theory of Art and Theory of Culture at the Transdisciplinary Master and Doctoral Studies at the Faculty of Media and Communication, University of Arts in Belgrade;

Christopher WOOD, Professor and Chair, Department of German, New York University (Affiliated Faculty, Department of Comparative Literature and Institute of Fine Arts).

ELIGIBILITY
The program targets early-career art historians from Central and Eastern European countries. They should hold a PhD or be in a demonstrably advanced stage of work on the thesis and be citizens of one of the former socialist states in East-Central Europe or of the post-Soviet republics. Once selected, the applicants are expected to take part in the whole series of seminars.

Travel, accommodation and meals will be arranged and covered by the organizing institution.

HOW TO APPLY
Applications will be submitted in electronic format only, to the address:
applications@nec.ro

Candidates are asked to enter in the Subject field of their e-mail message “Periodizationseminar series”.

There is no application form for this program. More information regarding the documents that the application should contain can be found on the following webpage:

http://www.nec.ro/data/pdfs/public-events/2018/october/Call%20for%20applications%20(4).pdf

The deadline for the submission of applications is November 30.

The results of the selection process will be communicated by February 15

CFP: Conquest and Construction: Architecture and Landscapes in the Medieval Mediterranean, Architecture Space and Society Research Centre, Birkbeck (University of London), March 1, 2019

CFP deadline: Monday 3 December 2018

Much recent scholarship on the medieval Mediterranean focuses on shifting borders and cultural identities. Conquest is one of the causes of such shifts. This one-day symposium will examine how the consequences of conquests were manifested in conquered cities and landscapes, asking how conquerors responded to their new environments and how conquered communities were built and re-built.

Papers might touch on any of the following in relation to conquest, conquerors or conquered territories in the Mediterranean world, in the period 500 – 1500.

  • Architecture
  • Space, landscape, urbanism, topographies
  • Architectural sculpture and decoration
  • Sacred and liturgical spaces
  • Destruction of architecture and urbanism
  • Spoliation and re-use of building materials
  • Cross-cultural exchanges through buildings, cities and landscapes
  • Conquerors as builders and patrons of architecture
  • Castles and defensive architecture
  • Written descriptions of conquered landscapes

Papers are welcome on all areas of the Mediterranean world (including the Islamic, Byzantine and Latin areas, Jewish communities, the crusades and border zones).

Please send proposals for 20-minute papers to Clare Vernon (c.vernon@bbk.ac.uk), by Monday 3 December 2018, including a paper title, an abstract (max 300 words) and contact details.

 

 

 

 

CFP: Scaling the Middle Ages: Size and Scale in Medieval Art, 24th Annual Medieval Postgraduate Colloquium, The Courtauld Institute of Art, February 8, 2019

The Courtauld Institute of Art’s 24th Annual Medieval Postgraduate Colloquium invites speakers to consider issues and opportunities encountered by medieval artists and viewers in relation to size and scale.

Deadline: 16 November 2018

From micro-architectural reliquaries and minute boxwood prayer beads to colossal sculpture and the built spaces of grand cathedrals and civic structures, size mattered in medieval art. 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.

Inspired by the ‘Russian doll’ relationship between the Sainte Chapelle in Paris and its micro-architectural miniature in the form of a gilded reliquary in the Musée de Cluny, Scaling the Middle Ages seeks to explore a range of questions surrounding proportion, scale, size, and measurement in relation to medieval art and architecture. The Sainte Chapelle, built by the saint-king of France Louis IX to house the relics of Christ’s Passion, is itself often described as an over-sized reliquary turned inside-out. The Cluny reliquary – made to house relics of Saints Maxien, Lucien, and Julien held within the chapel – both complicates and compliments that comparison, at once shrinking the chapel back down to size through close architectural quotation of its form in miniature and pointing the viewer’s attention back to that same, larger space. The relationship between these two artefacts raises a host of questions, including:

Scale and making

  • How were ideas about size and scale communicated between patrons, architects, craftspeople, and artists? In an age without universal standardised units of measurement, how did craftsmen negotiate problems of scale and proportion?
  • How were the measurements of a medieval building determined? What techniques did architects, masons, and artists use to determine the scale of their work?

Scale and meaning

  • What effects were achieved and what responses evoked by the manipulation of scale, from the minute to the massive, in medieval art?
  • What was the role of proportion and scale in architectural ‘copies’ or quotations?
  • What representational problems were encountered by artists approaching out-sized subjects, such as giants?
  • How was scale manipulated in order to communicate hierarchy or relative importance in medieval art?
  • How did size and scale function in competition between patrons or communities in their artistic commissions and built environments?

Problems of scale

  • What, if anything, happened when something was the wrong size? When was something too big, or too small? And how were such problems solved by patrons and makers?
  • How does the disembodied viewing of medieval art through digital surrogates distort or assist in our perception of scale?
  • How can modern measuring techniques and digital technology enhance our understanding of medieval objects and buildings?

Applicants to the colloquium are encouraged to explore these and related issues from a diverse range of methodologies, analysing buildings and objects from across the Middle Ages (broadly understood in geographical and chronological terms). The Medieval Postgraduate Colloquium offers an opportunity for research students at all levels from universities across the UK and abroad to present, discuss and promote their research.

To apply, please send a proposal of up to 250 words for a 20-minute paper, together with a CV, to teresa.lane@courtauld.ac.uk and oliver.mitchell@courtauld.ac.uk no later than 16 November 2018.

Organised by Oliver Mitchell and Teresa Lane (The Courtauld Institute of Art)

Click here for more information:

CFP: Illustrating Love: From Myth to Manual, Athens, GA, March 22–23, 2019

Apollonio di Giovanni di Tomaso and Workshop. Panel from a Marriage Chest with Story of an Assault on a Maritime City, ca. 1460. Museo Stibbert, Florence

Deadline: Nov 30, 2018

Call For Papers
Illustrating Love: From Myth to Manual
UGA Emerging Scholars Symposium—March 22-23rd, 2019
Keynote Speaker: Dr. Paul Barolsky

Submissions Due: November 30, 2018

The Association of Graduate Art Students (AGAS) at the University of Georgia, in partnership with the Georgia Museum of Art, invites emerging scholars to submit proposals for papers that contribute to a discussion of love in the visual arts. The symposium will be held in conjunction with the exhibition Life, Love, and Marriage Chests in Renaissance Florence, on view at the Georgia Museum of Art March 9—May 26, 2019.

Our symposium will expand the scope of the exhibition by addressing attempts to articulate love throughout the history of visual and material culture. Expressing the many facets of this complex emotion has been a preoccupation in the arts for generations, with artists across genres and media vying to capture the elusive sentiment. Through myth, allegory, and even religion, depictions of love mark cultures’ interpersonal values, both in public and in private. The arts of love reveal society’s most intimate desires, depicting narratives that codify their ideals. From beauty, sexuality, and family to status, agency, and identity, our symposium seeks submissions that exemplify the myriad archetypes related to love.

Submissions that discuss specific works of art or themes related to Life, Love, and Marriage Chests in Renaissance Florence are encouraged. Other relevant topics include but are not limited to:

•    Courtly love
•    Allegories of love and marriage
•    Gender roles in the domestic space
•    Eroticism and the nude
•    Love poetry and the visual arts

Current graduate students and other emerging scholars should submit abstracts (maximum 300 words) and an up-to-date CV to uga.symposium@gmail.com by November 30, 2018. Applicants will be notified of the committee’s decision by December 31, 2018.

Life, Love, and Marriage Chests in Renaissance Florence and related educational programs are made possible by the W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art.

Call for Articles: MEMO – Medieval and Early Modern Material Culture Online


Deadline
: Oct 31, 2018

Theme: Objekte der Erinnerung

Im kommenden Jahr 2019 jährt sich zum 500. Mal der Todestag Kaiser Maximilians I. Dieses Gedenken wird vielerorts genutzt, um die Person des habsburgischen Herrschers, seine Wirkung und Bedeutung für seine Zeit im musealen Rahmen in Szene zu setzen. Eine zentrale Rolle hierbei spielen Objekte: Objekte, die Maximilians Person, Vorstellungswelt, Politik, Handeln, seine Zeit und sein Fortleben in in der veranschaulichen, repräsentieren, wiederspiegeln. Als Herrscher, der zu seinen Lebzeiten sehr um sein ‚Gedechtnus‘ bemüht war und sein Andenken für künftige Generationen in materieller Form zu bewahren trachtete, hat Maximilian seinerseits Objekte bewusst für seine Memoria instrumentalisiert. Ein halbes Millennium später erscheinen sie möglicherweise in anderen Kontexten, sind neue Verbindungen eingegangen und haben für geänderte Akteure eine neue Signifikanz.
Die vierte Ausgabe von MEMO – Medieval and Early Modern Material Culture Online wird dieses Gedenkjahr zum Anlass nehmen, sich der Frage zu widmen, wie einzelne Objekte und Artefakte zu Zeichen für bestimmte Bedeutungen und Bedeutungszuschreibungen und insbesondere zu Objekten der Erinnerung werden. Wie entstehen solche Zuschreibungen und wie verändern sie sich im Laufe von Objektbiografien? Was leistet ein Objekt, wenn es zum Erinnerungsobjekt wird? Wie verhalten sich Objekte im Spannungsfeld zwischen individueller und kollektiver Erinnerung, wie und wann konstituieren sich durch sie Erinnerungskulturen? Und welche Rolle nehmen dabei Sammlungen und die an ihnen beteiligten Akteure im Laufe der Zeit ein?

Willkommen sind sowohl Arbeiten zu Maximilian als auch Beiträge, die sich allgemein mit den genannten Fragestellungen beschäftigen und das Thema „Objekte der Erinnerung“ entweder in theoretisch-methodischer Hinsicht aufrollen oder anhand konkreter Fallbeispiele und Untersuchungsgegenstände aus Mittelalter und früher Neuzeit behandeln.

Für unsere Vorauswahl erbitten wir Abstracts bis zum 31. Oktober 2018.
gabriele.schichta@sbg.ac.at oder elisabeth.gruber2@sbg.ac.at

Ausgabe 4 wird im Juni 2019 erscheinen, Deadline für die Einreichung der Beiträge
ist der 28. Februar 2019.

Click here for more information