CONF: Streets, Routes, Methods I (Florence, 5-6 May 17)

Florence, Kunsthistorisches Institut in Florenz – Max-Planck-Institut, Palazzo Grifoni Budini Gattai, Via dei Servi 51, May 5 – 06, 2017

Streets, Routes, Methods I: Reflections on Paths, Spaces and Temporalities International Conference
khi_florenz
A cooperation of the Kunsthistorisches Institut in Florenz – Max Planck Institute and eikones – NCCR Iconic Criticism, University of Basel Organized by Hannah Baader, Adam Jasper, Stefan Neuner, Gerald Wildgruber and Gerhard Wolf

Paths can be serpentine, straight and anything in between; they might traverse barely accessible mountains, like the Inca Trail, or be straight, like desire lines. Paths come before roads, survive into the time of roads, or reappear in response to them. Paths tend to be overgrown, to disappear—in the desert sand—to be overbuilt or abandoned. They have their temporalities, seasons and spatialities, between proximity and distance. Paths are therefore not purely spatial affairs. Paths have a genuine temporal dimension beyond the duration of a traveler’s journey. Paths can be seen as chronotopoi, with literary, pictorial and cinematographic histories. Paths must be trodden in order to survive, exemplifying the Heraclitian formula μεταβάλλον ἀναπαύεται (‘it is in changing that things find repose’). The temporal dimension of paths ultimately allows us to overcome the sterile dichotomy between real and imagined paths (metaphors, allegories, models). They have a rich life in the world of metaphors, intrinsic to the notion of met-hodos, based on the Greek word for way, or path. This allies paths to language and, more specifically, writing, whose elements are also repetitions, tracks that are ‘inked in’. It is the remembered, the described, and thereby the reusable and transferable path. Paths within language can become ritual tools for the creation of new ones.

Beyond the above mentioned approaches to paths, the conference will explore their relationship to the environment, in line with the eco-art historical project at the KHI. How do paths, trails and routes shape or even create landscape? What is the interplay of geomorphology, flora and fauna, animal and human agency? Paths introduce directionalities, itineraries and nets into the environment, they are linked to technologies of transport and movement; they offer viewpoints, changing horizons or deep immersion into flora or architecture; experiencing them is a multisensorial endeavor. Under the hodological conditions of global urban environments and post/industrial landscapes, paths run across streets, they can be subversive, democratic or pragmatic. They can be reinstalled as nostalgic evocations of a lost or overcome past,
of rural or pastoral life, or serve mass tourism as well as new ecological approaches.

Continue reading “CONF: Streets, Routes, Methods I (Florence, 5-6 May 17)”

Conference: Seeking Transparency, Florence, 19-20 May 2017

Seeking Transparency: The Medieval Rock Crystals International Conference

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

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.

Programme

Friday, May 19

09.00 – 09.15
Cynthia Hahn and Avinoam Shalem
Opening Remarks

09.15 – 10.00
Jens Kröger
The State of Research on Rock Crystals from the Islamic Lands in the 20th century

10.00 – 10.30
Elise Moreno
Relief-Carving on Medieval Islamic Glass and Rock Crystal: a Comparative Approach to Techniques of Manufacture

10.30 – 11.00
Jeremy Johns
The Medieval Islamic Rock Crystal ‘Industry’: Problems and Approaches

Coffee Break

11.30 – 12.00
Marcus Pilz
Beyond ‘Fatimid’ – The Iconography of Medieval Islamic Rock Crystal Vessels and the Question of Dating

12.00 – 12.30
Isabelle Bardiès-Fronty
As Beautiful as Mysterious: Updating the State of Research on the Lionheads at the Musée de Cluny

12.30 – 13.00
Stéphane Pradines
Madagascar, the Source of the Abbasid and Fatimid Rock Crystals. New Evidence from Archaeological Investigations in the Comoros Islands

Lunch Break

14.30 – 15.00
Venetia Porter
Amulets of Rock Crystal

15.00 – 15.30 Genevra Kornbluth
Transparent, Translucent, and Opaque: Merovingian and Anglo-Saxon Crystal Amulets

Coffee Break

16.00 – 16.30
Gia Tousaint
Rock Crystals in Church Treasuries. A Survey of Form and Function
16.30 – 17.00
Beate Fricke
Traveling Treasures – from Leo Insidiabatur to Agnus Dei

Saturday, May 20

10.00 – 10.30
Ingeborg Krueger
Man-Made Crystal: Crystal like Glass in the Middle Ages

10.30 – 11.00
Patrick Crowley
Rock Crystal and the Alchemical Sublime in Ancient Rome

Coffee Break

11.30 -12.00
Stefania Gerevini
Paradoxes of Material Implication. Medieval Rock Crystal between Clarity, Poverty and Splendor

12.00 – 12.30
Bissera Pentcheva
Shimmering Dualities: Crystal and the Poetics of the Resurrected Body

12.30 – 13.00
Hannah Baader
Transparency and the Landscapes of Quartz

Lunch Break

14.30 – 15.00
Brigitte Buettner
Solidly Transparent: Rock Crystal in Lapidary Knowledge

15.00 – 15.30
Farid Benfeghoul
Through Islamic Lenses: Rock Crystal and other Gems as Visual Aids

Coffee Break

16.00 – 16.30
Concluding Remarks
Gerhard Wolf’s ‘Reflexions’

CONTACT
Ester Fasino
fasino@khi.fi.it

FURTHER INFORMATION
Internet: www.khi.fi.it
Newsletter: www.khi.fi.it/newsletter
Facebook: www.facebook.com/khi.fi.it/

Resource: Bibliothèque virtuelle du Mont-Saint-Michel

Accès : ici

Le site de la Bibliothèque virtuelle du Mont Saint-Michel permet d’accéder aux notices descriptives et aux fac-similés de livres, manuscrits ou imprimés, qui peuvent être identifiés comme ayant appartenu, à un moment de leur histoire, à l’abbaye du Mont Saint-Michel.

Continue reading “Resource: Bibliothèque virtuelle du Mont-Saint-Michel”

CONF: Chivalry Reimagined (Cambridge, 22 May 17)

German, documented 1513–1579 Equestrian Armour of Emperor Charles V
German, documented 1513–1579 Equestrian Armour of Emperor Charles V

The Fitzwilliam Museum, University of Cambridge, May 22, 2017

Armour Study Day
University of Cambridge, 22 May 2017

“Chivalry Reimagined: Collecting and Displaying Renaissance Armour in the Late 19th Century”

When: Monday, 22 May 2017, 9:00-4:30pm
Where: Museum Seminar Room, Fitzwilliam Museum, University of Cambridge Who: Open to all, £25 registration fee (includes lunch and tea/coffee)

In nineteenth-century Britain and the United States, a strong affinity for the medieval period permeated contemporary art, literature, and architecture. This interest was mirrored in the art market, and fine and decorative art collectors sought rare objects that romanticized centuries past. Armour was particularly prized among male collectors,
as it embodied the knightly virtues of honour, chivalry, and martial ability.

At this Armour Study Day, historians and curators from some of Europe’s most prominent museums will speak about collecting and display practices of Renaissance armour in the late nineteenth and early twentieth centuries. Who were the men that collected these objects, what qualities were considered favourable, and how did collectors and museums choose to display this armour once acquired?

Lunch and tea/coffee will be provided. The day will also include a handling session, giving attendees the opportunity to handle pieces of fifteenth and sixteenth century armour.

Programme:

9:00-9:30am: Registration (via Courtyard Entrance)

9:30-9:45am: Welcome, Tim Knox, Director of the Fitzwilliam Museum

9:45-10:00am: Introductory remarks, Prof. Peter Mandler (University of Cambridge)

10:00-10:45am: Keynote speaker, Angus Patterson (Victoria & Albert Museum), “Ministrations to the Improvement of Society”: Electrotypes of Armour, 1850-1914

10:45-11:15am: Tea/coffee break (Courtyard)

11:15-12:00pm: Victoria Avery (Fitzwilliam Museum), Cambridge Connections and Collections: Arms and Armour at the Fitz

12:00-12:45pm: Stefan Krause (Kunsthistorisches Museum, Vienna), The Imperial Collection of Arms and Armour in Vienna in the 19th and Early 20th Century

12:45-1:45pm: LUNCH (Courtyard)

1:45-2:15pm: Armour-handling session for attendees with Technician Andrew Maloney (Fitzwilliam Museum)

2:15-3:00pm: Victoria Bartels (University of Cambridge), The Courtship of a Collection: William H. Riggs and The Metropolitan Museum of Art

3:00-3:45pm: Tobias Capwell (Wallace Collection), A Museum of a Museum: The Past, Present and Future of the Galleries of Arms and Armour at the Wallace Collection, ca. 1880-2020

3:45-4:00pm: Closing remarks, Prof. Ulinka Rublack (University of Cambridge)

4:00-4:30pm: Afternoon Tea reception (Courtyard)

4:30pm: Delegates and speakers leave (via Courtyard Entrance)

For more information and/or to register, please visit
http://www.fitzmuseum.cam.ac.uk/calendar/whatson/armour-study-day

Seminar Series: KRC Research Seminars: The Archaeology and Material Culture of the Medieval Islamic West

Tuesdays, 2 PM, KRC Lecture Room 3 St John St, Oxford OX1 2LG

25 April 2017: ʿAlā fuwīr Tuṭīla. Bilingual contracts and written culture during the Christian conquest of al-Andalus, Mr Rodrigo García-Velasco Bernal (University of Cambridge)

2 May 2017: The origins of royal funerary architecture in al-Maghrib al-Aqṣā, Mr Péter Tamás Nagy (Khalili Research Centre)

9 May 2017: The written culture in Medieval and Early Modern Islamic Spain, Dr Nuria Martínez de Castilla (Paris, EPHE)

16 May 2017: Light and Lighting in al-Andalus, Dr Tom Nickson (Courtauld Institute)

23 May 2017: Writing a New History of Western Islamic Architecture, Professor Jonathan Bloom (Boston College)

30 May 2017: Life beyond the medina of Cordoba: districts (rabad) and cemeteries (maqābir), Dr María Teresa Casal García (Madrid, CSIC)

6 June 2017: New (graphic) documents for the study of Almoravid and Almohad architecture, Professor Antonio Almagro Gorbea (Granada, CSIC)

13 June 2017: Berbers and Borderlands: state formation and urbanisation in early medieval Morocco, Dr Corisande Fenwick (University College London)

Seminars TT

CFP: St Luke Drawing the Virgin and Child (County Durham, 19 Jun 2017)

St Luke Drawing the Virgin and Child' by Dieric Bout the Elder
‘St Luke Drawing the Virgin and Child’ by Dieric Bout the Elder

County Durham, The Bowes Museum, Barnard Castle, June 19, 2017
Deadline: May 8, 2017

CVAC Study Day ‘St Luke Drawing the Virgin and Child: Constructing Narratives’

Following an export bar in July 2016, The Bowes Museum acquired the outstanding painting, ‘St Luke Drawing the Virgin and Child’ by Dieric Bout the Elder with support from the the Art Fund, Heritage Lottery Fund and a number of private donors. The painting is of major importance due to its connection with the artist, deemed one of the leading and most influential Netherlandish painters of his time.

This interdisciplinary study day aims to look at the painting ‘St Luke Drawing the Virgin and Child’ in the broad context of visual culture: exploring sainthood and investigating visual representations of sanctity, looking at perspective, with a particular attention to interiors and architecture in early modern Europe, and analysing identity and self-imagery.

The event is designed to be a cross- and inter-disciplinary study day where scholars, postgraduate and early career researchers can meet, debate, and collaborate on all issues pertaining to visual culture.

The Bowes Museum and CVAC invite proposals for thirty-minute papers from scholars, postgraduate and early career researchers that address any aspect of art, literature, history, and culture, with a particular attention to:

–    Sainthood from Medieval to contemporary time;
–    Visual representation of saints;
–    Architecture and interiors in early modern Europe;
–    Portraiture and identity;
–    The theory and practice of perspective;
–    Patronage and trade and circulation in early modern Europe.

The study day will take place at The Bowes Museum on 19 June 2017, with a number of thirty-minute papers, followed by discussion, and including lunch and morning and afternoon refreshments.

Abstracts of up to 200 words along with a brief biography should be submitted in the body of an email to
catherine.dickinson@thebowesmuseum.org.uk .

The closing date for submissions is Monday 8 May 2017, at 5pm.

For more details, please contact
catherine.dickinson@thebowesmuseum.org.uk

Panel discussion: Transforming Art History

Giotto’s Circle

The Courtauld Institute of Art, Somerset House, Strand, London

Engaging with the Trecento

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Speaker

  • Caroline Campbell: Head of the Curatorial Department and Curator of Italian Paintings before 1500, National Gallery
  • Eloise Donnelly: University of Cambridge/British Museum collaborative doctorate; formerly Art Fund Curatorial Trainee, National Gallery/York Art Gallery
  • Anna Koopstra: Simon Sainsbury Curatorial Assistant, National Gallery
  • Kirsten Simister: Curator of Art, Ferens Art Gallery, Hull
  • Imogen Tedbury: Courtauld Institute/National Gallery collaborative doctorate
  • Lucy West: Art Fund Curatorial Trainee, National Gallery/Ferens Art Gallery, Hull

Prompted by the recent arrival of two early-fourteenth-century Italian paintings in permanent collections of UK Galleries (Pietro Lorenzetti at the Ferens Art Gallery, Hull, and Giovanni da Rimini at the National Gallery, London) this panel presentation explores the mechanisms behind such acquisitions, and the challenges and opportunities in presenting unfamiliar material to present-day gallery visitors.  How can museums and galleries introduce such works to a wider public, communicate the significance of these rare acquisitions, encourage viewers to engage fruitfully with them, and integrate these works into their permanent displays?  And how do present-day approaches compare with those of previous centuries?

Panel members include curators involved in these acquisitions and interpretations, at Hull and at the National Gallery, and in the redisplay of the early Italian paintings of the Lycett Green Collection in the permanent collection at York Art Gallery.  A series of short presentations will be followed by panel discussion.

#DAHRG keynote seminar: Transforming Art History in the Digital Revolution

Monday 12 June, 5:30 pm

#DAHRG keynote seminar

The Courtauld Institute of Art, Somerset House, Strand, London

Prof. Caroline Bruzelius (Duke University)

Transforming Art History in the Digital Revolution

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The Courtauld’s new Digital Art History Research Group (#DAHRG) is pleased to welcome Professor Caroline Bruzelius to give the second of the group’s keynote seminar.

The History of Art is a discipline uniquely well-suited to digital technologies.  We can now, for example, create provenance databases, map the trajectories of objects, model changes to buildings and cities, recreate lost monuments and reconstruct the setting of an altarpiece. Above all, digital technologies have the capacity to democratize the discipline, engaging the public in narratives about works of art, buildings, and cities in a way that was previously not possible.

 

This potential offers the potential of new roles for art historians as mediators between the mute object (or building, or city) and the public, expanding our role as teachers and scholars into the community.  In this talk, Bruzelius will engage with several public-facing projects that she has been engaged in (Visualizing Venice, The Kingdom of Sicily Image Database; the Sarlat Âpostles Color Project) to reflect upon the ways in which technology can transform experiences of seeing and being in the world.

Caroline Bruzelius is a scholar of medieval architecture in France and Italy, publishing books and articles on French Gothic architecture (the Cistercians; St.-Denis; Notre-Dame in Paris), the medieval churches of Naples, and the architecture of women religious orders and the mendicant orders.  Her most recent book, Preaching, Building and Burying.  Friars in the Medieval City (Yale University Press, 2014), focuses on how the mendicant practices of outdoor preaching, visiting homes, and burying laymen in convents affected the design, construction, and urban impact of massive convents such as Sta. Croce in Florence, St. Anthony’s in Padua, and the Frari in Venice.

Bruzelius is also a pioneer in exploring how digital technologies can communicate narratives about works of art and the built environment.  She is a founding member of the Wired! laboratory at Duke University, a group of faculty and graduate students who integrate visualization technologies with teaching and multi-year research initiatives, such as Visualizing Venice.

From 1994 to 1998 Bruzelius was Director of the American Academy in Rome.  She is a Fellow of the American Academy of Arts and Sciences, the Society of Antiquaries, the Medieval Academy of America, and has received numerous research fellowships in the United States and abroad.

This is the second of #DAHRG’s keynote seminars. You can watch the group’s first, given by Prof. Martin Eve (Birkbeck), here

A drinks reception shall follow this seminar. 

Continue reading “#DAHRG keynote seminar: Transforming Art History in the Digital Revolution”

Medieval Work-in-Progress seminar: Hidden Treasures

Wednesday 7 June, 5:00 pm

Medieval Work-in-Progress seminar

The Courtauld Institute of Art, Somerset House, Strand, London

Dr Jane Spooner (The Courtauld Institute of Art)

Dr Lesley Milner (The Courtauld Institute of Art)

Hidden Treasures

Dr Lesley Milner (The Courtauld Institute of Art) – ‘It made my heart thump for I was certain that it was gold.’

James Wilson Marshall’s 1848 discovery of gold in an American river was unexpected; he was actually building a saw mill. Similarly, in academic terms I found pure gold lying in unexpected terrain. Manuscript D&C/A/2/23 f3 in the archives of Lincoln cathedral is a fourteenth-century complaint to the Dean and Chapter of Lincoln cathedral about their property management. In this untranscribed and unpublished legal document is to be found important new evidence not only about the cathedral treasure house and also about the thirteenth-century shrine of St. Hugh.

Dr Jane Spooner (Historic Royal Palaces / The Courtauld of Art) – The Iconography of the Wall Painting Fragments from St Stephen’s Chapel, Westminster Palace

A series of fourteenth-century wall-painting fragments from the former Chapel of St Stephen survive in the care of the British Museum. The fragments depict scenes from the Books of Job and Tobit. According to antiquarians’ drawings, the Job and Tobit paintings were located in the bays closest to the altar wall. They were part of a series of small-scale paintings positioned beneath the Chapel’s north and south windows. This paper offers an interpretation of the iconography of the fragments based on their position, the depiction of episodes from the Old Testament Books, and the historical context for the decorative scheme.

Jane Spooner trained as an art historian and as a wall paintings conservator. She is the Curator of Historic Buildings of the Tower of London and the Banqueting House, Whitehall, and works for Historic Royal Palaces. She recently completed a part-time PhD at the Courtauld Institute of Art, on ‘Royal Wall Paintings in England in the Second Half of the Fourteenth Century’.

Medieval Work-in-Progress Seminar: The Meditationes vitae Christi: a conversation about dating, authorship and contexts

Wednesday 26 April, 5.00 pm

Medieval Work-in-Progress Seminar

The Courtauld Institute of Art, Somerset House, Strand, London

Dr Peter Toth, Dr Donal Cooper, Prof. Joanna Cannon

The Meditationes vitae Christi: a conversation about dating, authorship and contexts

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Memmo di Filippuccio, Santa Chiara altarpiece (details of Saint Francis and Saint Clare), c.1305-10, Museo Civico, San Gimignano (photo: Donal Cooper courtesy of the Museo Civico, San Gimignano)

Peter Toth (British Library)

The Meditationes Vitae Christi, a series of affective meditations on the life of Christ, has long been regarded as one of the most influential medieval works ever. It had decisive influence on literary and religious thought as well as the fine and performing arts of the Late Middle Ages. Despite its wide-reaching importance, however, neither its author nor even its date or the language it was originally written has ever been identified. This talk will survey the latest research that shed some new light on these questions and reflect on the challenges this new light had created, showcasing further evidence for the date and original language of this medieval best-seller.

Donal Cooper (University of Cambridge):

A long-standing conundrum regarding the origins of the Meditationes vitae Christi has been the elusive nature of the Franciscan friar traditionally proposed as its author: Giovanni de’ Cauli or John of Caulibus. The claim made by Fra Bartolomeo da Pisa in the 1390s that “Iohannes de Caulibus de Sancto Geminiano” had written a book of meditations on the Gospels has yet to be corroborated by contemporary archival sources. Building on Péter Toth’s and Dávid Falvay’s compelling reappraisal of the early manuscript tradition of the Meditationes, this contribution turns to the rich archival record that survives for the Tuscan Franciscans from the late thirteenth and fourteenth centuries in search of the text’s likely author.

Joanna Cannon (Courtauld Institute of Art):

Since the days of Henry Thode and Emile Mâle, as views on the authorship and dating of the Meditationes vitae Christi have evolved, the uses that art historians have made of the text have undergone several changes.  My brief contribution reflects on the implications of these changes, and of the recent findings of Péter Toth, Dávid Falvay and Donal Cooper, for the study of the Meditationes vitae Christi in relation to art in thirteenth-century Siena.