Call for Papers Journal of Icon Studies Deadline 01/06/2018

Vladimir Icon

The Journal of Icon Studies is now accepting submissions for its second issue, scheduled for online publication in December 2018. We welcome contributions from scholars working across a wide disciplinary range, including art history, literature and film, religious studies, gender and cultural studies, history and anthropology, conservation and museum studies.

The Journal of Icon Studies is an online, peer-reviewed publication dedicated to the interdisciplinary study of icons around the globe, from the Byzantine period to the modern era. It serves as an international forum for new scholarship on the theoretical, theological and historical significance of icons, their place within a broad cultural and artistic context, as well as their conservation, collecting, and exhibiting. The journal includes reviews of books and exhibitions, archival discoveries, and translations of primary documents.

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Call for Participation Mediterranean Palimpsests: Connecting the Art and Architectural Histories of Medieval and Early Modern Cities Deadline 15/02/2018

Mediterranean Palimpsests

The Cyprus Institute, with support through the Getty Foundation’s Connecting Art Histories initiative, is launching a new research seminar project: Mediterranean Palimpsests: Connecting the Art and Architectural Histories of Medieval and Early Modern Cities. Interested scholars at a formative stage of their careers are encouraged to apply for participation in the project’s three planned workshops in Nicosia, Cordoba/Granada and Thessaloniki/Rhodes.

Directed by Nikolas Bakirtzis (The Cyprus Institute) and D. Fairchild Ruggles (University of Illinois at Urbana-Champaign), the project investigates the layered art histories of medieval Mediterranean cities as the basis for scholarly connections that challenge and move beyond the boundaries of modern historiographies, national narratives and contemporary socioeconomic realities. Set in a region where issues of cultural heritage and identity are currently highly contested, the project looks at the material past to understand its relevance for the present and future. The project’s focus expands on collaborative research on historic Mediterranean cities pursued by the Cyprus Institute’s Science and Technology in Archaeology Research Center (STARC) and the Illinois’ National Center for Supercomputing Applications (NCSA) and the Department of Landscape Architecture of the University of Illinois at Urbana-Champaign.

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Call for papers; Conference; Influence of the Arts in the Middle Ages Reflections on the Aquitanian Ms. Paris, BnF, Latin 1139 Paris / 19-21 March 2019 DEADLINE 31 May 2018

CFP ImageThe manuscript Paris, BnF, lat. 1139 is a composite manuscript whose origins are not precisely known. It was preserved in the library of the abbey Saint-Martial de Limoges, one of the most prestigious book collections of the Middle Ages, since the mid-thirteenth century. The manuscript includes the first expressions of a new way of singing divine praise. These compositions do not so much break with older traditions as add to what already existed.

The oldest and most important part of the manuscript (end of the 11th – the beginning of the 12th century) contains many festive chants: tropes, versified songs (versus and Benedicamus domino, so called nova cantica) troped epistles and liturgical dramas (ff. 32r-117r). Also added are votive offices for the BVM, notated in the thirteenth century (ff. 119r-148r), a full sequentiary dating from the end of the twelfth century (ff. 149r-228v), and parts of two other sequentiaries of the thirteenth century (f. 2r-20v). Throughout the manuscript, one can also find texts about liturgical practice and the daily life of the abbey (such as an inventory of altar ornaments, a list of the books in the library, and so on).

This conference is open to scholars from many disciplines (history, art history, history
of literature, musicology, philology, palaeography…) in order to tackle all the aspects of this complex manuscript.

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Summer Seminars in Paleography and Archival Studies

mediciJune 4 – July 7, 2018
Deadline: May 27, 2018

Summer Seminars in Paleography and Archival Studies

Session I: 4 – 9 June 2018 / Deadline: 27 May 2018
Session II: 25 – 30 June 2018 / Deadline: 18 June 2018
Session III: 2 – 7 July 2018 / Deadline:  25 June 2018

The Medici Archive Project is pleased to announce the dates for the upcoming 2018 Summer seminars in paleography and archival studies: Session I (4-9 June), Session II (25-30 June) and Session III (2-7 July).
The principal aim of this seminar is to provide an introduction to Italian archives (with particular emphasis on Florentine archival collections); to examine in-depth various documentary typologies; to read diverse early modern scripts; and to learn how to plan research in Italian archives and libraries. Especially relevant for graduate students, university faculty, and museum curators working on Renaissance and early modern topics, this seminar is taught by a team of current and former MAP scholars, as well as university professors and other MAP-affiliated researchers. Participating students will be taught at the MAP headquarters at Palazzo Alberti in Via de’ Benci 10.
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Seminar: Light made and light received: Architectural polychromy in northern France in the twelfth and thirteenth centuries

Timbert20photo-600x600Wednesday 14 February 2018
5:00 pm – 6:00 pm

Research Forum Seminar Room, The Courtauld Institute of Art, Somerset House, Strand, London, WC2R 0RN

Light in the Gothic period (twelfth and thirteenth centuries) has been the subject of numerous studies. These have drawn heavily on the writings of abbot Suger and focus particularly on stained glasses or liturgical objects. Aniconic polychromy is very rarely considered. This lecture will therefore explore the relationship between light and architectural polychromy. It will also consider the atmosphere and luminous identities generated by the use of local pigments.

 

Arnaud Timbert is Professor of Art History of the Middle Ages (University of Picardy Jules-Verne). He is a member of the Scientific Council of the International Stained Glass Center (CVMA). With the support of this institution, he sponsored a collective and interdisciplinary work on Chartres Cathedral (2014). He has also directed several works on materials and construction techniques (abbey church of Vézelay and Noyon cathedral) and restoration (castles of Pierrefonds and Pupetières). Whilst a fellow at the INHA (2015-2017) he also inaugurated a study of the historiography of architecture with a critical edition of the correspondence of Louis Grodecki (2018).

Resources: British Library Digitised Manuscripts hyperlinks

We have been hard at work here at the British Library and we are excited to share with you a brand new list of Digitised Manuscripts hyperlinks. You can currently view on Digitised Manuscripts no less than 1,943 manuscripts and documents made in Europe before 1600, with more being added all the time. For a full list of what is currently available, please see this PDF Download Digitised MSS January 2018. This is also available in the form of an Excel spreadsheet Download Digitised MSS January 2018 (this format cannot be downloaded on all web browsers).

The list reflects the wide range of materials made available online through our recent on on-going digitisation projects, including Greek manuscripts and papyri, pre-1200 manuscripts from England and France thanks to funding from the Polonsky Foundation, and illuminated manuscripts in French and other European vernacular languages.

Many images of our manuscripts are also available to download from our Catalogue of Illuminated Manuscriptswhich is searchable by keywords, dates, scribes and languages. We also recommend taking a look at the British Library’s Collection Items pages, featuring Leonardo da Vinci’s notebook of scientific drawings and the single surviving copy of the Old English poem Beowulf.

CFP: Uncovering the Animal: Skin, Fur, Feathers 1450-1700 (London, 29 Jun 18)

Salvi_da_Macerata-Hippo_inventing_phlebotomy-16.originalKing’s College London, June 29, 2018
Deadline: Mar 15, 2018

Renaissance Skin Workshop – ‘Uncovering the Animal: Skin, Fur, Feathers 1450-1700

This half-day workshop will reflect on the multiple ways in which animal skin and the by-products of the evacuation of humoreal excreta (hair, fur, feathers) were conceptualised and used between 1450 and 1700. Combining different historiographical approaches and sources (textual, material, and visual), the workshop aims to open the field up to a wider audience, strengthen the need to consider animals compared to similar work on human skin and hair, and facilitate an interdisciplinary conversation, from natural history to material culture, on animal skin in a globalised world.
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Course: Studienkurs Venedig und der Osten (Venedig, 9-17 Sep 18)

Venedig, 09. – 17.09.2018
Deadline: Apr 4, 2018

Studienkurs Venedig 2018

Venedig und der Osten
venetie.jpg
Das deutsche Studienzentrum in Venedig veranstaltet vom 9. bis 17. September 2018 (An- und Abreisetag) einen interdisziplinären Studienkurs.
Die wissenschaftliche Leitung liegt bei Prof. Dr. Albrecht Berger (Byzantinistik, München) und Prof. Dr. Markus Koller (Osmanistik, Bochum).
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Conference: 23rd Annual Medieval Postgraduate Student Colloquium: ‘Collecting (in) the Middle Ages’, The Courtauld Institute of Art, London 16 February 2018

The Courtauld Institute of Art’s 23rd Annual Medieval Postgraduate Colloquium invites speakers to consider the nature of medieval collections, the context of their creation and fruition, and their legacy – or disappearance – in the present.

Existing approaches to the subject help to understand the formation, dispersal, and reassembly of groupings of objects. However, broadening the scope of what a medieval collection is can open new paths of exploration. From immense palace networks to single-volume manuscripts, a wide range of objects can pose complex and exciting questions regarding how physical and conceptual similarity and proximity shaped making and meaning in the Middle Ages.

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 Costanza Beltrami (The Courtauld Institute of Art / The Auckland Project) and Maggie Crosland (The Courtauld Institute of Art) with the generous support of The Sackler Research Forum.

Programme

09.30 – 10.00:  Registration

10.00 – 10.10:  Welcome

Session 1: Assembled Objects — chaired by Teresa Lane

10.10 – 10.30: Gesner Las Casas Brito Filho (University of Leeds): Níðwundor’, terrible wonder: The Beowulf Manuscript as a compilation about the ‘East’ (Nowell Codex part in British Library Cotton Vitellius A.xv)

10.50 – 11.10: Krisztina Ilko (University of Cambridge): Collecting Miracles: Visualising the Early Saints’ Cult of the Augustinian Friars

11.10 – 11.30: Elizabeth Mattison (University of Toronto/ KIK-IRPA): The Collection as History: Collecting with and on the Reliquary Bust of Saint Lambert in Liège

11.10 – 11.30: Discussion

11:30 – 12:00: TEA / COFFEE BREAK – Seminar Rooms 1 & 2

Session 2: Strategies of Collecting — chaired by Charlotte Wytema 

12.00 – 12.20: Noah Smith (University of Kent): The Courtrai Chest: A Matter of Personal Collection

12.20 – 12.40: Oliver Mitchell (The Courtauld Institute of Art): Collecting relics, curating an image: regicide, martyrdom, and the sacrificial kingship of Louis IX in the Sainte Chapelle

12.40 – 13.00: Maria Lopez-Monis (The Courtauld Institute of Art): Collecting the profane: Conversion of earthly objects into reliquaries

13.00 – 13.20: Discussion

13.20 – 14.30: LUNCH (provided for speakers only in Seminar Room 1)

Session 3: Collaborating across media — chaired by Nicholas Flory

14.30 – 14.50: Maria Harvey (University of Cambridge): Across time and space: Byzantin(ising) objects in the hands of the Del Balzo Orsini

14.50 – 15.10: Sophia Ong (Rutgers University/INHA): “Autres petiz Joyaulx et Reliquiaires pendans”: Pendants and the Collecting of Jewelry in the Valois Courts

15.10 – 15.30: Adriana Concin (The Courtauld Institute of Art): Collecting medieval likenesses: Archduke Ferdinand II and his Genealogy of Tyrolian Landesfürsten

15.30 – 15.50: Discussion

15.50 – 16.20: TEA / COFFEE BREAK – Seminar Rooms 1 & 2

Session 4: Spaces of Display — chaired by Harry Prance

16.20 – 16.40: Lesley Milner (The Courtauld Institute of Art): From Medieval treasure room to Renaissance wunderkammer: Sir William Sharrington’s strong room at Lacock Abbey

16.40 – 17.00: Sarah Randeraad (University of Amsterdam): Medii Aevii, Medio Evo, Tempi di Mezzo: ‘Amorphous’ Middle Ages in 19th century Florentine private and public display

17.00 – 17.30: Discussion

17.30 – 17.45: Closing remarks: Joanna Cannon (The Courtauld Institute of Art)

17.45: RECEPTION (Front Hall)

With special thanks to Michael Carter for his contribution and support for the colloquium.

CONF: Il Pallio di San Lorenzo (Florence, 1-2 Feb 18)

Florence, Opificio delle Pietre Dure / Kunsthistorisches Institut in Florenz – Max-Planck-Institut, February 1 – 02, 2018

Il Pallio di San Lorenzo: Dopo il restauro e prima del suo ritorno a Genova
Workshop

pallio.jpgThis workshop focuses on the so-called ‘Pallio di San Lorenzo’, a thirteenth-century Byzantine textile given to the Cathedral of San Lorenzo in Genoa within the framework of diplomatic relations between Genoa and the Byzantine court. The bright red samite embroidered with various coloured silk threads, as well threads in silver and gold, represents the Lives of St. Lawrence, St. Sixtus, and St. Hippolytus, accompanied by Latin inscriptions, and a depiction of Michael VIII Palaiologos visiting the cathedral of Genoa. The textile’s actual state of preservation after many years of meticulous restoration and the results of the recent analyses of the dye, the stitching technique, and the precious metal threads provides insight into  its unique materiality. Furthermore, its specific iconography, Latin paleography, and possible functions offer various points of departure for a comprehensive reconsideration of the Pallio. This work epitomizes the transcultural encounters in the Mediterranean. This interdisciplinary workshop, organized in collaboration with the textile restoration experts of the Opificio delle Pietre Dure and the Museo Sant’Agostino, Genoa, is an extraordinary occasion to discuss the results of the restoration of the ‘Pallio di San Lorenzo’ before its return to Genoa.

A collaboration between the Opificio delle Pietre Dure, Firenze, the Museo di Sant’Agostino, Genova and the Kunsthistorisches Institut in Florenz – Max-Planck-Institut
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