Conference: ‘Jan van Eyck and the Northern Renaissance in Bruges: New Interdisciplinary Research’, Musea Brugge, 25-26 April 2024

Henri Pirenne Institute for Medieval Studies (Ghent University) & BRON Research Centre (Musea Brugge) are organising a two-day conference on new and ongoing research on Jan van Eyck and the Northern Renaissance in Bruges. 

Fifteenth-century Netherlandish painting, and Bruges as one of its main centres, have long been classic research topics in art history. This is epitomized by the study of Jan van Eyck and his oeuvre, which has resulted in an extensive body of work by important (art) historians. In the last few years social historians have started new investigations of the archival sources while archaeologists have also increasingly begun to look into the relationship between painting and material culture in this period.

The aim of this workshop is to present stimulating new and ongoing research on Jan van Eyck and Northern Renaissance Bruges within the context of the wider Burgundian Low Countries, in an interdisciplinary conversation between leading scholars in the fields of art history, socio-economic and political history and archaeology.

Practical info

Conference Programme

Thursday 25 April 2024

09:00-09:25 Registration and coffee

09:25-09:35 Word of welcome: Anne van Oosterwijk (Musea Brugge)

SESSION 1: BRUGES, THE BURGUNDIAN STATE AND THE NORTHERN RENAISSANCE I

Chair: Anna Koopstra (Musea Brugge)

09:35-10:00 Stephan Kemperdick (Gemäldegalerie, Berlin), ‘Hernoul le fin’ and Portraits of Couples

10:00-10:25 Maxime Poulain (Ghent University) and Mathijs Speecke (Ghent University), An Alchemist’s Workshop? New Evidence on the Production of Pigments in Late Medieval Bruges.

10:25-10:50 Bert Verwerft (Ghent University), Wim De Clercq (Ghent University) & Jan Dumolyn (Ghent University), Arnolfini, Bladelin, and their Social Networks in Bruges

11:10-11:40 Coffee break

SESSION 2: BRUGES, THE BURGUNDIAN STATE AND THE NORTHERN RENAISSANCE II

Chair: Frederik Buylaert (Ghent University)

11:40-12:05 Susan Frances Jones (Independent scholar, London), Jan van Eyck and his Workshop: the ‘Master-and-Assistants’ Model, the Van Maelbeke Virgin and the Question of Chronology

12:05-12:30 Niels Fieremans (Ghent University), Pirates, Paintings and Portinari. The Case of the Burgundian Galley

12:30-12:55 Sophie Caron (Musée du Louvre, Paris), The Madonna with Chancelor Rolin: Two Functions for One Object?

13:15-14:45 Lunch break

SESSION 3: PATRONAGE AND CIRCULATION

Chair: Lisa Demets (Ghent University)

14:45-15:10 Leen Bervoets (Ghent University), Patronage of the Northern Renaissance in Numbers. A Statistical Analysis of the Social Context of Early Netherlandish Painting

15:10-15:35 Till-Holger Borchert (Suermondt-Ludwig Museum, Aachen), Barthélémy d’Eyck and Eyckian Manuscript Paintings Between the Courts of Burgundy and Anjou

15:35-16:00 Hendrik Callewier (State Archives of Belgium, Bruges), Van Eyck’s “Virgin and Child” as A Monument to a Vain and Ambitious Canon: A New Biography of Joris van der Paele

16:00-16:20 Project presentations Ghent University and Musea Brugge

Friday 26 April 2024

9.30-10.00 Registration and coffee

SESSION 4: VAN EYCK AND BEYOND

Chair: Wim Blockmans (Professor Emeritus, Leiden University)

10:00-10:25 Danny Praet (Ghent University), The Virtues on the Ghent Altarpiece

10:25-10:50 Maximiliaan P.J. Martens (Ghent University), A Newly Discovered Blessing Christ by Quinten Metsys

10:50-11:15 Kathleen Froyen (KIK-IRPA, Brussels), The Challenges of the Third Phase of the Restoration of the Ghent Altarpiece

11:15-11:40 Emma Capron (The National Gallery, London), The Van Eyck Renaissance


11:40-12:00 General discussion and closing remarks chaired by Marc Boone (Ghent University)

CFP: ‘Southeast European Silversmithing: Artisans, Donors And The Concept Of Piety During The Early Modern Period’, deadline 15 May 2024

The Institute of Art Studies, BAS, invites you to participate in the international conference Southeast European Silversmithing: Artisans, Donors, and the Concept of Piety During the Early Modern Period.

The conference will be held on 17 and 18 October 2024 in the building of the Institute on 21 Krakra Str.

Deadline for sending abstracts and CVs: 15 May 2024.

Commissioning and donation of liturgical objects is among the most vivid manifestations of religiosity and an expression of pious devotion to God. Through the centuries, gradually, more sacred silver objects and various sources of information about them reached us which gave the art historians a unique opportunity to examine and understand the impact of material culture in shaping the religious life of Christians. Despite the increasing number of studies dedicated to the historical, technological, iconographical, and functional aspects of liturgical objects which undoubtedly are giving us a much better understanding of them, we still know comparatively little about the silversmiths, the organisation of their profession and the artistic process, the donors and the circumstances of their commissions. In other words, we, as researchers in that field, often struggle to identify all the stipulations that resulted in the emergence of church utensils made of precious metals.

The conference will focus on the issues regarding the manufacturing and circulation of liturgical objects as well as their role in the construction of the pious image of the believers in Southeast Europe during the early modern period. We believe that this research area offers a good potential for academic discussion and interdisciplinary investigations combining art historical methods with critical analysis of a variety of written sources, archival documentation, and contemporary approaches in humanitarian studies. We welcome proposals for 20-minute papers exploring material across the topic that deal with either case studies or broader methodological questions. Papers that take an interdisciplinary approach, breaking the traditional boundaries between art history and history, especially economic history and the history of guilds, and museum studies, are particularly welcome. Topics of interest may include, but are not limited to: 

  • Commission and donation of liturgical objects. 
  • Objects reflecting personal and collective piety through the mechanisms of production and donorship. 
  • Social status of donors and silversmiths within the society and their “biographies”. 
  • Production of liturgical objects, issues of artistic process and technological peculiarities. 
  • Silversmiths’ guilds, professional organization, state regulations and control on precious metals. 
  • Interaction of silversmiths’ guild with local Church authorities and other institutions. Manufacturing and trading liturgical objects. 
  • Circulation of liturgical objects and mobility of silversmiths. 
  • Provenance and hallmarks on liturgical objects, style, attribution and authorship. 
  • The „afterlife“ of profane silver as liturgical objects in the secondary use, transformation and utilisation of exotic materials for sacred purposes. 
  • Liturgical silver as a deposit for the state economy in peace and war.
  • Liturgical objects in written sources such as various types of chronicles, inventories, wills, travel accounts, memoirs, marginal notes, etc. 
  • Inscriptions on liturgical objects and their interpretation.

Academic research on wider aspects of the topic such as exploring the destiny of liturgical objects through time, their later “life”, and changes in form and function, the place of church utensils and silversmithing in art historiography, archival documents and photographs, and museum and private collections, will also be considered. 

We are inviting papers in all relevant disciplines and scholars working on similar topics in areas other than art history are encouraged to apply. 

The conference’s working languages will be English and Bulgarian. Please submit your abstracts of 400 words in English no later than 15 May 2024 and a short biography of 300 words, including email and current affiliation. 

You should also provide a personal photo for use on the conference website. 

Prospective conference participants will be notified if their paper has been accepted no later than 25 May 2024. Please note that the accommodation costs for speakers will be covered.

The conference papers are planned to be published by 2026. All information about the conference, including participants and proposed abstracts will be made available on the website of the conference and the website of the Liturgical Objects in the Context of Silversmith’s Art During the Ottoman period (Based on Materials from the Diocese of Plovdiv) project. Please send your applications to: southeasteusilversmithing@gmail.com or liturgicalobjectsproject@gmail.com

Academic Committee: 

  • Darina Boykina, PhD, Institute of Art Studies, Bulgarian Academy of Sciences,
  • Republic of Bulgaria
  • Mateja Jerman, PhD, Ministry of Culture and Media of the Republic of Croatia and
  • Faculty of Humanities and Social Sciences, University of Rijeka, Republic of Croatia
  • Vuk Dautović, PhD, Department of History of Art, Faculty of Philosophy, University
  • of Belgrade, Republic of Serbia

Organising Committee:

  • Darina Boykina, PhD, Institute of Art Studies, Bulgarian Academy of Sciences,
  • Republic of Bulgaria
  • Tereza Bacheva, PhD, Institute of Art Studies, Bulgarian Academy of Sciences,
  • Republic of Bulgaria

Timeline:

  • Open CFPs: 15 March 2024
  • Deadline for submission of abstracts and CVs: 15 May 2024
  • Feedback on abstracts: 25 May 2024
  • Date of the conference: 17 – 18 October 2024
  • Submission of papers for publication: 30 June 2025

Further Information

  • You can download the invitation for the conference here.
  • You can download the application form here.
  • Find out more here.

New Publication: ‘The Routledge Handbook of Byzantine Visual Culture in the Danube Regions, 1300-1600’, Edited By Maria Alessia Rossi and Alice Isabella Sullivan

This volume aims to broaden and nuance knowledge about the history, art, culture, and heritage of Eastern Europe relative to Byzantium. From the thirteenth century to the decades after the fall of Constantinople in 1453, the regions of the Danube River stood at the intersection of different traditions, and the river itself has served as a marker of connection and division, as well as a site of cultural contact and negotiation.

The Routledge Handbook of Byzantine Visual Culture in the Danube Regions, 1300–1600 brings to light the interconnectedness of this broad geographical area too often either studied in parts or neglected altogether, emphasizing its shared history and heritage of the regions of modern Greece, Croatia, Serbia, Bulgaria, Romania, Hungary, Slovakia, and Czechia. The aim is to challenge established perceptions of what constitutes ideological and historical facets of the past, as well as Byzantine and post-Byzantine cultural and artistic production in a region of the world that has yet to establish a firm footing on the map of art history.

The 24 chapters offer a fresh and original approach to the history, literature, and art history of the Danube regions, thus being accessible to students thematically, chronologically, or by case study; each part can be read independently or explored as part of a whole.

Table of Contents

Introduction

Maria Alessia Rossi and Alice Isabella Sullivan

Chapter 1: Byzance après Byzance: The Paradigm

Ovidiu Cristea and Ovidiu Olar

Part I: Art Historical Overviews

Chapter 2: The Afterlives of Byzantine Art in the Wider Adriatic

Margarita Voulgaropoulou

Chapter 3: Art and Architecture in the Balkans and the Lower Danube Regions

Jelena Bogdanović, Ljubomir Milanović, and Marina Mihaljević

Chapter 4: The Visual Culture of Wallachia before and after 1453

Elisabeta Negrău

Chapter 5: Moldavian Visual Culture before and after 1453

Vlad Bedros

Chapter 6: Byzantine Elements in Wall Painting in the Kingdom of Hungary

Zsombor Jékely

Chapter 7: Byzantine and Post-Byzantine Art in Modern Slovakia

Vladislav Grešlík

Part II: Contacts and Patronage Beyond Borders

Chapter 8: Framing Silk Patronage in the Late Medieval Eastern Adriatic

Iva Jazbec Tomaić and Danijel Ciković

Chapter 9: A Ruler and a Churchman: Collaborative Patronage of Monasteries in Medieval Serbia

Anna Adashinskaya

Chapter 10: The Danubian Lands, Mount Athos, and Mount Sinai: Meaningful Connections

Alice Isabella Sullivan

Chapter 11: Greek Merchants and the Genoese Lower Danube in the Late Fourteenth Century

Marco Cassioli

Chapter 12: Medieval Wall Paintings in Transylvanian Orthodox Churches: Signs of Cross-Cultural Interactions

Elena-Dana Prioteasa

Chapter 13: Charles IV and Byzantium: Icon Painting and Stone Incrustation in Fourteenth Century Prague

Jana Gajdošová

Part III: Ideals and Ideologies in Images and Texts

Chapter 14: The Bowing Prince: Post-Byzantine Representations of Christian Rulership in Moldavian Wall Painting

Andrei Dumitrescu

Chapter 15: Ethics, Piety, and Politics in The Teachings of Neagoe Basarab to His Son Theodosie

Ioana Manea

Chapter 16: Sophia: The Personification of Divine Wisdom in the Lower Danube Region

Zofia A. Brzozowska

Chapter 17: Shaping Images of Sanctity and Kingship between Byzantium and Serbia during the Nemanjići Dynasty

Irene Caracciolo

Chapter 18: Eastern Roman and Bulgarian Perceptions of Each Other in the Thirteenth Century

Grant Schrama

Part IV: Adaptations and Transmissions across Media and Geographies

Chapter 19: Silversmiths in Southeastern Europe: Visual Culture between Islam, Byzantium, and the Latin West

Anita Paolicchi

Chapter 20: Late Medieval Balkan Dress beyond Byzantium

Nikolaos Vryzidis

Chapter 21: Overhanging Rooms in Dwellings of the Danubian Regions

Serena Acciai

Chapter 22: The Byzantine Alexander Romance in Slavonic

Antoaneta Granberg

Chapter 23: Genres and Translations: The South Slavonic Versions of the Palaea Historica

Małgorzata Skowronek

Chapter 24: Communication and Memory in Medieval Church Slavonic Paratexts in the Balkans

Izabela Lis-Wielgosz and Ivan N. Petrov

Find out more about the book here.

New Publication: ‘The Medieval Scriptorium: Making Books in the Middle Ages’, by Sara J. Charles

Pre-order the hardback via Waterstones

This book takes the reader on an immersive journey through medieval manuscript production in the Latin Christian world. Each chapter opens with a lively vignette by a medieval narrator – including a parchment-maker, scribe and illuminator – introducing various aspects of manuscript production. Sara Charles poses the question ‘What actually is a scriptorium?’, and explores the development of the medieval scriptorium from its early Christian beginnings through to its eventual decline and the growth of the printing press. With the written word at the very heart of the Christian monastic movement, we see the immense amount of labour, planning and networks needed to produce each individual manuscript. By tapping into these processes and procedures, we can experience medieval life through the lens of a manuscript maker.

Sara J. Charles works and studies at Senate House, University of London. She has previously published on various aspects of the history of the book.

Publisher: Reaktion Books

Virtual Exhibition: ‘Opus Venetum: The Forgotten Venetian Heritage’

‘Opus Venetum: The Forgotten Venetian Heritage’ 

The virtual exhibition called OPUS VENETUM: The Forgotten Venetian Heritage is a result of a collaboration between the Ph.D. Iva Jazbec Tomaić (Academy of Applied Arts, University of Rijeka), Ph.D. Danijel Ciković (Academy of Applied Arts, University of Rijeka) and Ph.D. Valentina Baradel (Dipartimento dei Beni Culturali: archeologia, storia dell’arte, del cinema e della musica, Università degli Studi di Padova). The project is financed by The University of Rijeka and co-financed by the Foundation of the Croatian Academy of Sciences and Arts and the Francis Haskell Memorial Fund. 

The implementation of this virtual exhibition was made possible thanks to the support of other foreign institutions namely Almae Matris Alumni Croaticae – United Kingdom Association of Alumni and Friends of Croatian Universities and Laboratoire HiSoMA, Maison de l’Orient et de la Méditerranée / Université Lumière Lyon 2 and is a result of several years of project work on the systematization and analysis of preserved Venetian 14th-century embroidery heritage.

The exhibition is of a permanent nature, and new content is planned to be added through the work on this topic in the coming period. The website’s content refers to the virtual exhibition, information about the project and work process as well as information about team members and finally acknowledgements with a list of institutions thanks to which the exhibition was made possible.  The virtual exhibition itself consists of the following chapters: Introduction, Opus Venetum, Masterpiece of Venetian Embroidery: The Veglia Altar Frontal, The Hands Behind the Preparatory Drawing, Revealing the Secrets of the Art of Embroidery and Mapping of the 14th Century Venetian Embroidery.

Through the text and reproductions, the authors tried to give an insight into Venetian 14th-century embroidery workshop practice and to create, for the first time, a comprehensive catalogue of embroideries crafted in Venice during the 14th century. This catalogue will serve as a cornerstone for directing future research endeavours towards the proper valorisation of individual works of art and the distribution of ideas and commissioning models among the prominent representatives of the ecclesiastical and secular elites on the Adriatic.

Conference: ‘Roman and Medieval Art, Architecture, and Archaeology in Pembrokeshire’, British Archaeological Association Annual Conference (15th July-19th July), deadline 20 April 2024

Monday 15th July – Friday 19th July 2024
Pembrokeshire College, Merlin’s Bridge, Haverfordwest

Lectures

Lectures will include papers on a variety of subjects ranging from: 

  • Roman & Early Medieval Pembrokeshire
  • Norman monasticism
  • Archaeology, architecture and sculpture of St Davids Cathedral
  • 14th-century bishops’ palaces
  • Local parish churches and castles
  • 16th and 18th-century manor houses
  • Screens 
  • Manuscripts and bishops’ croziers at St David’s Cathedral. 

Speakers include: 

  • David Austin, Robert Boak, Richard Brotherton, Janet Burton, Eric Cambridge, Chris Caple, Nichola Coldstream, Ross Cook, Jaycie Corbett, John Crook, Richard Gem, Richard Halsey, Stuart Harrison, Sophie Kelly, Neil Ludlow, Julian Luxford, Mark Merrony, Fran Murphy, Ken Murphy, Phil Poucher, Sian Rees, Matthew Reeve, Andy Seaman, Roger Stalley, Zachary Stewart, Richard Suggett, Liz Walder and Jonathan Wooding. 

Site Visits

A walking tour of Haverfordwest will include the major remaining medieval sites. There will be three coach excursions (one full & two half-days) outside Haverfordwest. These will encompass:

  • St Davids (cathedral, cathedral close and bishop’s palace) 
  • Picton Castle 
  • Carew Castle 
  • Tenby (Tour of medieval walled town with an 18th-century seaside resort, including St Mary’s Church and a 15th century Merchant’s House) 
  • Manorbier Castle
  • Lamphey Bishop’s Palace
  • Pembroke Castle
  • Monkton Priory 

Student Scholarships 

  • A limited number of scholarships will be available for students, covering the conference fee and accommodation. Please email catherinemilburn@madasafish.com for further details if you wish to apply. The deadline for student scholarship applications is 20th April, 2024 
  • We continue to be very grateful indeed to attendees who add donations for the student scholarships. The booking form shows you how this can be done. 

Cost 

  • The conference fee is £350.00 which includes 3 dinners, 2 lunches, 2 receptions, tea & coffee refreshments during the lectures, coach travel, admissions, and site donations. 

Booking and next steps

  • Booking forms should be sent to Kate Milburn at 34 Latimer Road, London, SW19 1EP by 20th April, 2024. Attendees can pay by cheque, bank transfer or request a PayPal form if an overseas member. Full details regarding payment are on the booking form. We will use email for further contact. If you do not have email, please send two SAEs with your Booking Form. 
  • Booking for the Conference is on a first come, first served basis and is open to BAA members only. 
  • We will email or post confirmation of your booking. Joining instructions, with a provisional programme, will be sent out in the middle of June. If you have any questions regarding the conference please email Kate Milburn – catherinemilburn@madasafish.com 

Find out more and download relevant forms from the British Archaeological Association website.

Exhibition: ‘Arts in France During the Time of Charles VII (1422-1461)’, Musée de Cluny, Paris, from 12 March to 16 June 2024

Under the reign of Charles VII, art experienced an extraordinary rebirth. The exhibition “Arts in France during the time of Charles VII (1422-1461) ”, presented at the Musée de Cluny – Musée National du Moyen Âge from 12 March to 16 June 2024, highlights this pivotal moment in the history of art. 

From the 1420s, during the Hundred Years’ War, the Kingdom of France underwent profound political and artistic changes. In the north of the kingdom, occupied by the English and the Burgundians, multiple artistic centres emerged. When the dauphin Charles managed to win back his throne, thanks in particular to Joan of Arc, followed by his kingdom, all the conditions for a revival were met. Key patrons, such as Jacques Cœur, called on a new generation of artists, who converted to Flemish realism – known as ars nova – which was on the rise with Jan van Eyck in particular, while through the Italian influence, they drew on the classical heritage developed by artists such as Filippo Brunelleschi, Donatello and Giovanni Bellini. Artistic creation gradually broke away from international Gothic and shifted to a new vision of reality, foreshadowing the Renaissance. 

After an initial section for historical contextualisation, the exhibition demonstrates the diversity of the arts in the key geographical centres, often associated with major patrons. In the third and final section, the route provides an analysis of the specificities of this art in France, between Burgundian and Flemish ars nova and Italian innovations. A key chapter is devoted to Provence and the role of René d’Anjou, patron and one of the early champions of northern art, exploring the figure of the artist Barthélemy d’Eyck among others. 

Throughout the visit, the exhibition explores the diversity of artistic production during the reign of Charles VII. It brings together prestigious illuminated manuscripts, paintings, sculptures, gold and silversmithery, stained glass and tapestries. It includes exceptional works, such as the canopy of Charles VII (Musée du Louvre), the manuscript of the Rohan Hours (Bibliothèque nationale de France) or the Aix Annunciation (Aix-en-Provence) by Barthélemy d’Eyck, a painter for Duke René of Anjou who illuminated his Tournament Book (Bibliothèque nationale de France). For the first time, the Parisian triptych of the Passion and Resurrection of Christ by André d’Ypres will be fully reconstructed (Musée du Louvre, Getty Museum, Musée Fabre). Finally, an entire section will be dedicated to Jean Fouquet, one of the greatest French painters of the 15th century. A genius of illumination, he produced the famous portrait painted on wood of Charles VII (Musée du Louvre), presented in its rightful place in the exhibition. 

The exhibition “Arts in France during the time of Charles VII (1422-1461)” is organised by the Musée de Cluny – Musée National du Moyen Âge and the GrandPalaisRmn. Several curators from major national institutions have been brought together for the exhibition, including Mathieu Deldicque, Chief Heritage Curator, Director of the Musée Condé in Chantilly,

Find out more about the exhibition on the Musée de Cluny website

Heures de René d’Anjou, Barthélémy d’Eyck, 1459-1460, Enluminure (Paris, BnF, département des Manuscrits, Bibliothèque nationale de France MS  Latin 17332), f. 15v

CFP: ‘Unruly Iconographies? Examining the Unexpected in Medieval Art’, deadline 1 April 2024

Index of Medieval Art, Princeton University, 9 November 2024

Modern study of medieval iconography inevitably entails grappling with exceptions and the rupture of expectations. No sooner might scholars settle on an expected visual formula—Cain killing Abel with his farmer’s hoe, Saint George riding his snowy steed—than we’re pulled up by an image that flouts those rules. In the fifteenth-century Alba Bible, Cain sinks his teeth directly into his brother’s neck, arguably in reference to Jewish exegesis, while in some Byzantine and post-Byzantine icons of St. George, a small boy carrying a cup rides with the saint, inspiring a semi-serious modern tradition concerning George’s love of coffee. Other iconographic traditions seem to emerge out of the blue, as did the distinctive type known as the Virgin of Humility, which flowered suddenly in Mediterranean cities in the 1340s. Such unruly iconographies both intrigue and disappoint us: they engage yet disobey our expectations, and we are left to wonder why.

The culprit in such cases is less often a rogue medieval work of art than the rigidity of modern scholarship. Despite ample evidence to the contrary, the assumption that medieval iconographic norms were formulaic, authoritative, and above all universally obeyed still shapes the way modern scholars analyze the imagery they study. Even after the poststructuralist turn, art historians have continued to wrestle with expectations deeply embedded in the discipline: that medieval artists preferred to copy or turn to text rather than to innovate; that unprecedented iconography must be based on a lost original; that patrons or learned advisors must have directed artists’ work; that traditions translated smoothly across media, formats, and contexts; that all viewers read and understood the images they saw in the same way. Underlying many of these assumptions has been a wider one: that the ideas of greatest value must be tracked to artists rooted in cosmopolitan centers, rather than to artists and works of art that circulated freely throughout their peripheries.

The conference “Unruly Iconographies? Examining the Unexpected in Medieval Art” aims to open a new conversation about medieval images that don’t follow the rules. We call for papers that ask both speakers and audience to rethink the unspoken paradigms that have decided which iconographic motifs are canonical and which are “singular,” “exceptional,” or even “mistakes.” At the broadest level, we seek to problematize the binaries on which these paradigms were founded: tradition versus invention, canon versus exception, and center versus periphery. At a more specific one, we invite deeply researched case studies whose particularities can lead scholars to a more effective, contextually sensitive, and historically informed approach to the study of images and image-making in the Middle Ages.

“Unruly Iconographies?” will take place on November 9, 2024 at the Index of Medieval Art at Princeton University, following the Weitzmann Lecture by Dr. Brigitte Buettner, held on November 8 and hosted by Princeton’s Department of Art & Archaeology. It also will constitute the first of two internationally linked events, the second of which will be a site-based seminar at the Center for the Art and Architectural History of Port Cities “La Capraia” in Naples in June 2025. Whereas the Index conference will consider broadly disciplinary questions about methodology, theory, and models, the Naples conference, hoped to be the first of several site-based conferences of this kind, takes southern Italy as a laboratory for exploring the relationships between iconography and place within a geographically expanded Middle Ages, focusing on the potentials and limits of the study of iconography in southern Italy. Details about this conference will be available in Summer 2024.Submissions for the Princeton-based conference are invited by April 1, 2024. They should include a one-page abstract and c.v. and be sent to fionab@princeton.edu. Travel and hotel costs for the eight selected speakers will be covered by the Index. Speakers will be informed of their selection no later than May 1, 2024.

Conference: ‘Refinement and/or Reduction? Gothic Art, Architecture and Culture, c. 1250 to 1350’ (Halle, 23-25 May, 2024)

International conference, Institut für Kunstgeschichte und Archäologien Europas, Martin-Luther-Universität Halle-Wittenberg.

Cncept and organization:

  • Prof. Dr Ute Engel (Martin-Luther-Universität Halle-Wittenberg)
  • Prof. Dr Christian Freigang (Freie Universität Berlin)

The international conference aims at an interdisciplinary reassessment of Gothic art and architecture between c. 1250 and 1350 in a broad European perspective. With an increased diversity of patrons and new technical facilities, the design options for artists and architects alike extended to a virtuoso refinement across media, on the one hand. On the other hand, new modes of reduction emerge, probably originating in economic, technical or programmatic tendencies of the time. The conference elucidates and discusses the cultural background of this paradoxical situation. Additionally, the conference intends to honour Paul Frankl (1878–1962), professor of the History of Art at the University of Halle 1921–1934. Forced into American exile, he became one of the leading scholars of the Gothic, based at the Institute of Advanced Studies in Princeton from 1940 onwards.

Conference Location

The conference will take place at Martin-Luther-Universität, Halle: On 23 and 24 May 2024 at Universitätsplatz, Löwengebäude, Aula and Historischer Sessionssaal, Universitätsplatz 11, 06108 Halle (Saale); on 25 May 2025 at Steintor-Campus, Hörsaal II, Emil-Abderhalden-Straße 28, 06108 Halle (Saale).

Additionally, there will be the chance to listen to the lectures online via web-link.

Conference Registration

Please register for the conference until 12 May 2024, using the email address below.

Please note whether you will take part in presence or online: sekretariat@kunstgesch.uni-halle.de

The conference is co-sponsored by:

Fritz Thyssen Stiftung Ministerium für Wissenschaft, Energie, Klimaschutz und Umwelt Sachsen-Anhalt Saalesparkasse

Contact: ute.engel@kunstgesch.uni-halle.de | Website


Conference Programme

Thursday, 23 May 2024

15.00 – Registration

16.00 – Welcome

Panel 1: Gothic Art and Architecture c. 1250 to 1350, and its Historiography (Chairs: Prof. Dr Ute Engel and Prof. Dr Christian Freigang)

  • 16.15 – Prof. Dr Ute Engel (Martin-Luther-Universität Halle-Wittenberg): “Refinement and/or Reduction c. 1250 to 1350: An Introduction”
  • 16.45 – Prof. Dr Christian Freigang (Freie Universität Berlin): “‘Doktrinäre Gotik – Reduktionsgotik‘. Architectural History between Criticism of Academicism and Theory of Space”
  • 17.15 – Prof. Dr Beatrice Kitzinger (Princeton University): “Encountering Paul Frankl in the Princeton Archive”
  • 17.45 – Discussion

19.00 – Keynote Lecture: Prof. Dr Paul Binski (University of Cambridge): “Subtlety and Gothic Architecture”

20.00 – Reception

Panel 2: Paris and Court Culture (Chair: Dr Antje Fehrmann)

  • 9.00 – Prof. Dr Dany Sandron (Sorbonne Université, Paris): “Opus parisianum? Architecture in Paris c. 1250–1350”
  • 9.30 – Prof. Dr Lindy Grant (University of Reading): “The Aesthetics of Asceticism: Louis IX and Court Culture after the Return from the 1248–1254 Crusade”
  • 10.00 – Prof. Dr Michael T. Davis (Mount Holyoke College): “Synthesis, Invention and Transformation in French Gothic Architecture, 1250–1320 “
  • 10.30 – Discussion

10.45 – Coffee/Tea

Panel 3: Beyond Paris (Chair: Prof. Dr Ute Engel)

  • 11.15 – Prof. Dr Michaelis Olympios (University of Cyprus, Nicosia): “Architecture and Ritual at the Laon Cathedral Chapels”
  • 11.45 – Prof. Dr Christoph Brachmann (University of North Carolina Chapel Hill): “The Simultaneity of the Non-Simultaneous”
  • 12.15 – Prof. Dr Etienne Hamon (Université de Lille): “The Updating of Graphic Models from the 1300s in 15th-century Architecture and Decorative Arts: Some Examples from Central France”
  • 12.45 – Discussion

13.00 – Lunch break

Panel 4: Centres in the South (Chair: Prof. Dr Christian Freigang)

  • 14.30 h Dr Markus Schlicht (Université Bordeaux Montaigne): “Refinement to Reduction: The Choir of Bordeaux Cathedral (from 1252)”
  • 15.00 h Dr Alexandra Gajewski (Burlington Magazine, London): “Becoming a Papal Residence: Churches and Chapels in Avignon, from John XXII to Clement VI”
  • 15.30 h Dr Tom Nickson (Courtauld Institute of Art, London): “Two for One? Berenguer de Montagut, Manresa, and Catalan Gothic”
  • 16.00 h Discussion

16.15 h Coffee/Tea

Panel 5: Cross-Media Figurations (Chair: Prof. Dr Juliane von Fircks)

  • 16.45 – Prof. Dr Brigitte Kurmann-Schwarz (Universität Zürich)/Prof. Dr Peter Kurmann (Université de Fribourg): “French Architecture and Stained Glass in Dialogue (1250–1350)“
  • 17.15 – Prof. Dr Tim Ayers (University of York): “More or Less? The Chapter House and its Vestibule at York Minster
  • 17.45 – Prof. Dr Evelin Wetter (Abegg-Stiftung, Riggisberg/Universität Leipzig): “Embroidered Image and Surface. On the Reduction of the Background to Colour and Material in the Works of the Opus anglicanum”
  • 18.15 – Discussion

Saturday, 25 May 2024

Panel 6: Innovation and Invention (Chair: Dr Sascha Köhl)

  • 9.00 – Prof. Dr Marc Carel Schurr (Universität Trier): “Less is more – Strasbourg Cathedral and the ‘Avant-garde’ of Architecture around 1300”
  • 9.30 – Prof. Dr Jacqueline Jung (Yale University, New Haven): “Refinements of Time in Monumental Narrative Relief Sculpture after 1250”
  • 10.00 – PD Dr Christian Kayser (Technische Universität, München): “The Western Tower of Freiburg Minster and the Invention of the Gothic Openwork Spire”
  • 10.30 – Discussion

10.45 h Coffee/Tea

Panel 7: Cityscapes (Chair: Prof. Dr Markus Späth)

  • 11.15 – Dr Tobias Kunz (Staatliche Museen zu Berlin): “Not Only Paris. Foreign Innovations and their Consequences in Cologne Sculpture”
  • 11.45 – Dr Zoe Opacic (Birkbeck College, University of London): “Erfordia turrita: ‘Reduktionsgotik’ and Urban Refinement in Fourteenth-century Erfurt”
  • 12.15 – Dr Zoltán Bereczki (University of Debrecen): “Franciscan Monasteries in the Medieval Cityscape. A Case Study of Sopron (HU) and Bratislava (SK)”
  • 12.45 – Discussion

13.00 – Lunch break

Panel 8: European Transfer (Chair: Prof. Dr Christian Freigang)

  • 14.00 – Prof. Dr Robert Bork (University of Iowa): “Reflections on Refinement: Plasticity versus Planarity between France and Germany, 1250–1350”
  • 14.30 – Prof. Dr Jakub Adamski (University of Warsaw): “Strasbourg – Wrocław – Cracow. On the Transfer of Modern Architectural Design from the Upper Rhine Valley to Southern Poland from c. 1280“
  • 15.00 – Prof. Dr Yves Gallet (Université Bordeaux Montaigne): “Refinement versus Reduction? A Showcase of Paradoxical Coexistence in 14th-Century Architecture: Matthias of Arras´s Work in Prague”
  • 15.30 – Discussion

Conclusion (Chair: Prof. Dr Ute Engel)

15.45 – Prof. Dr Bruno Klein (Technische Universität, Dresden): “Conclusion and Perspectives on Gothic Art, Architecture and Culture c. 1250 to 1350”

16.15 – Coffee/Tea, End of conference

Call for Sessions: Mary Jaharis Center Sponsored Panel, 50th Annual Byzantine Studies Conference, deadline 3 April 2024

As part of its ongoing commitment to Byzantine studies, the Mary Jaharis Center for Byzantine Art and Culture seeks proposals for Mary Jaharis Center-sponsored sessions at the 50th Annual Byzantine Studies Conference, which will be held in New York City from October 24 to 27, 2024. We invite session proposals on any topic relevant to Byzantine studies.

Session proposals must be submitted through the Mary Jaharis Center website by April 3, 2024.

If the proposed session is accepted, the Mary Jaharis Center will reimburse a maximum of 5 session participants (presenters and chair) up to $800 maximum for scholars based in North America and up to $1400 maximum for those coming from outside North America. Funding is through reimbursement only; advance funding cannot be provided.

For further details and submission instructions, please visit https://maryjahariscenter.org/sponsored-sessions/50th-bsc

Contact Brandie Ratliff, Director, Mary Jaharis Center for Byzantine Art and Culture, with any questions.