Conference: Textile Gifts in the Middle Ages (Rome, 3-5 November 2016)

medieval-textile-images0002Gifts of textiles and clothing appeared in diverse contexts and fulfilled various functions in pre-modern Europe. They could be offered in the course of an initiation rite and or an act of social transition, including upon investiture, marriage, or entry into a monastery. Gifts of clothing to the poor, meanwhile, were among the works of charity
thematized in the vitae of numerous medieval saints. Sumptuous textiles were sent as resplendent gifts to religious institutions or, like
patterned silk textiles from Byzantium, circulated through diplomatic gift exchanges. Gifts of clothing were also distributed within the court as compensation in kind, which supported the structuralization and hierarchization of courtly society. Textile gifts could represent the donor. Especially in the case of clothing previously worn by its donor, the physical presence of the giver might have been woven into the materiality and form of the gifted garment.

The goal of this interdisciplinary conference is to situate the diversity and polysemy of such acts of symbolic communication into the broader context of medieval gift culture. The integration of
anthropological and sociological models (Marcel Mauss, Bruno Latour) into an art historical approach allows for gifted artifacts to be taken seriously as independent entities within the giving process as a socially generative form of communication. The conference therefore
investigates the relationship between human actors and the “agency” of gifts themselves, exploring  how the dynamics of reciprocity and its attendant obligations were charged both visually and materially.

For the programme, please visit <http://arthist.net/archive/13867>.

CFP: Medieval Collaborations, The Courtauld Institute of Art’s 22nd Annual Medieval Postgraduate Colloquium (4 February 2017), deadline 25 November 2016

Saturday 4 February 2017. Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN

In the earliest days of the discipline, medieval art historians were preoccupied with attempts to name and locate masters in anonymous works through formal analysis. In recent years, however, new approaches have favoured the proposal and identification of collaborative working practices. Recent investigations of collaborations like that of Simone Martini and Lippo Memmi, the illuminators of the Winchester Bible, or the creators of Opus Anglicanum reveal a more complex picture of artistic co-operation. Notions of the artist as master have been replaced with those of artists working together, from the collaborative artisan activity in eighth-century cloisters to the increasing specialisation in the twelfth-century shop. Collaborations spanned media, with the erection of stone churches requiring not just the mason’s carving but the carpenter’s scaffolding and centring. The master and apprentice paradigm has slowly been eroded with narratives of apprentices working alongside, subverting, and surpassing their so-called masters.

The Courtauld Institute’s 22nd Annual Medieval Postgraduate Colloquium invites speakers to consider new approaches to artistic collaborations of the Middle Ages, and how conceptions of collaboration have impacted on the study of these works. Applicants are encouraged to consider a wide range of methodologies and subjects in their approach. Some possible areas might include:

  • Collaborators and Co-Creations: how can medieval art and architecture act as evidence of artistic collaboration? Case studies of artworks; seen and unseen collaborations between artist and patron, writer, scribe and illuminator, mason and glazier, master and apprentice, carpenter and painter; collaborations between or within religious orders, church and crown, across countries
  • Process and Method: how were collaborative artworks planned and carried out? Collaborative working processes and shared technologies; specialized skills and divisions of labour; contracts and documentary evidence; shop structures vs ad hoc collaborative undertakings; collaborations across media
  • Conflict in Collaboration: how were conflicting methods and ideas resolved? Evidence of less-than-seamless cooperation and differing conceptions; reworking by a second collaborator of the first’s work
  • Representation and Reception: how are collaborative projects presented and represented? Signatures, mythologies of the maker as individual, and representations of cooperative working
  • Intervention and Adaption: how are initial plans adapted over time? Long-term building/construction projects; later interventions to earlier artworks; ‘collaborations’ spanning time
  • Collaborations in Medieval Art Scholarship: how have scholars of the Middle Ages collaborated in their work? Collaborative interdisciplinary projects past and present, such as Acta Sanctorum, the Corpus Vitrearum and the Corpus of Romanesque Sculpture in Britain and Ireland; digital humanities and collaborations in medieval art research; historiography of collaboration

The Medieval Postgraduate Colloquium offers the opportunity for research students at all levels from universities across the UK and abroad to present and promote and discuss their research. There is some funding available for speakers attending from outside London. If you would like to be considered for this, include a brief statement of need in your application.

Please send proposals of up to 250 words for 20 minute papers, together with a CV, to imogen.tedbury@courtauld.ac.uk and meg.bernstein@courtauld.ac.uk no later than 25 November 2016.

http://courtauld.ac.uk/event/22nd-annual-medieval-postgraduate-student-colloquium-medieval-collaborations

Seminar: The Digital Pilgrim Project 19th October 2016

another-medieval-pilgirm-badgePlease join us at the Paul Mellon Centre for Studies in British Art on the evening of the 19th October. The seminar will discuss the Digital Pilgrim Project and the art historical/museological potential of digital technologies.

http://www.paul-mellon-centre.ac.uk/whats-on/forthcoming/digital-pilgrim-project

The Digital Pilgrim Project is digitising the British Museum’s collection of medieval badges and 3D imaging a selection. The 3D scans are making these miniature objects of art publicly accessible, in some cases for the first time since their acquisition.

Presentations will be followed by discussion.

Our 3D scans can be seen here: https://sketchfab.com/britishmuseum/collections/digital-pilgrim

Conference: al-Murabitun (Granada, 19-22 October 2016)

alhambra-ceilingPalace of Charles V, Alhambra (Granada, Spain), October 19 – 22, 2016

Between 19th and 22nd October 2016, in the Palace of Charles V of the Alhambra in Granada, will be held the International Seminar “al-Murabitun. Noveno centenario del esplendor de un Imperio”, in memory of Professor Henri Terrasse. During the Seminar, many scholars from France, Morocco, United States, Spain and Portugal will get together in the ancient capital of the Almoravid Empire in the Iberian Peninsula, to commemorate the moment of the Almoravids’ maximal splendor. Never before it has taken place a scientific meeting of such characteristics about the Almoravids and, for this reason, the diverse perspectives targeted by the specialists will attract everyone who wishes to know better this dynasty, which had an outstanding place in our cultural history.

For more information, program view and matriculation, please, visit the UNIA site:
http://www.unia.es/oferta-academica/congresos-jornadas-encuentros-y-otras-actividades-formativas/oferta/item/seminario-internacional-en-memoria-del-profesor-henri-terrasse-al-murabi-un-noveno-centenario-del-esplendor-de-un-imperio

CFP: 14th International Medieval Society Symposium: ‘Evil,’ Paris, June 29– July 1, 2016

ambrogio_lorenzetti_008Call for Papers: 14th International Medieval Society Symposium: ‘Evil,’ Paris, June 29– July 1, 2016
Deadline: November 5, 2016

For its 14th Annual Symposium, the International Medieval Society invites abstracts on the theme of Evil in the Middle Ages. The concept of evil, and the tensions it reveals about the relationship between internal and external identities, fits well into recent trends in scholarship that have focused attention on medieval bodies, boundaries, and otherness. Medieval bodies frequently blur the distinctions between moral and non-moral evil. External, monstrous appearances are often seen as testament to internal dispositions, and illnesses might be seen as a reflection of a person’s evil nature. More generally, evil may stand in for an entire, contrasting ideological viewpoint, as much as for a particular kind of behaviour, action, or being. It may appear in the world through intentional acts, as well as through accidental occurrences, through demonic intervention as much as through human weakness and sin. It may be rooted in anger, spread through violence, or thrive on ignorance, emerging from either the natural world or from mankind.

Alongside those working on bodies and monstrosity, the question of evil has also preoccupied scholars working to understand the limits of moral responsibility and the links between destiny and decision as shown in medieval literary, artistic and historical productions. The 14th Annual IMS Symposium on Evil aims to focus on the many facets of medieval evil, analysing the intersections between evil as concept and form, as well as taking into account medieval responses to evil and its potential effects.

This Symposium will thus explore (but is not limited to) three broad themes:

1)    Concepts of evil: discourse on morality and moral understandings of evil; reflections on the relationship between good and evil; heresy and heretical beliefs, teachings, writings; evil and sin; evil and conscience; associations with hell, the devil; types of evil behaviour or evil thoughts; categories of evil; evil as disorder/chaos; evil as corruption; evil and mankind

2)    Embodied evil/being evil/evil beings: monstrosity; the demonic; perceptions of deformity and disfigurement; evil transformations and metamorphoses; magic and the supernatural; outward expressions of evil (e.g. through clothing, material possessions); evil objects

3)    Responses to evil: punishments; the purging and/or exorcism of evil; inquisition; evil speech; warnings about evil (textual, visual, musical); ways to avoid evil or to protect oneself (talismans etc.); the temptation of evil; emotional responses to evil; social exclusion as a response to evil.

Through these broad themes, we aim to encourage the participation of researchers with varying backgrounds and fields of expertise: historians, art historians, musicologists, philologists, literary specialists, and specialists in the auxiliary sciences (palaeographers, epigraphists, codicologists, numismatists). While we focus on medieval France, compelling submissions focused on other geographical areas that also fit the conference theme are welcome and encouraged. By bringing together a wide variety of papers that both survey and explore this field, the IMS Symposium intends to bring a fresh perspective to the notion of evil in medieval culture.

How to submit: Proposals of no more than 300 words (in English or French) for a 20-minute paper should be e-mailed to communications.ims.paris@gmail.com by November 5th 2016. Each should be accompanied by full contact information, a CV, and a list of the audio-visual equipment that you require.

Please be aware that the IMS-Paris submissions review process is highly competitive and is carried out on a strictly anonymous basis. The selection committee will email applicants in late-November to notify them of its decision. Titles of accepted papers will be made available on the IMS-Paris website. Authors of accepted papers will be responsible for their own travel costs and conference registration fee (35 euros, reduced for students, free for IMS-Paris members).

The IMS-Paris is an interdisciplinary, bilingual (French/English) organisation that fosters exchanges between French and foreign scholars. For the past ten years, the IMS has served as a centre for medievalists who travel to France to conduct research, work, or study. For more information about the IMS-Paris and past symposia programmes, please visit our website: www.ims-paris.org.

IMS-Paris Graduate Student Prize:

The IMS-Paris is pleased to offer one prize for the best paper proposal by a graduate student. Applications should consist of:

1) a symposium paper abstract

2) an outline of a current research project (PhD. dissertation research)

3) the names and contact information of two academic referees

The prize-winner will be selected by the board and a committee of honorary members, and will be notified upon acceptance to the Symposium. An award of 350 euros to support international travel/accommodation (within France, 150 euros) will be paid at the Symposium.

Conference: Al-Murābiṭūn: Noveno centenario del esplendor de un Imperio, Granada, October 19-22, 2016

OLYMPUS DIGITAL CAMERAConference: Al-Murābiṭūn: Noveno centenario del esplendor de un Imperio, Granada, October 19-22, 2016
Inscription deadline: October 17, 2016.

The Universidad Internacional de Andalucía and the Escuela de la Alhambra present “Al-Murābiṭūn: Noveno centenario del esplendor de un Imperio,” a colloquium/ course in honor of the memory of Prof. Henri Terrasse, to he held 19-22 October 2017 at the Palace of Carlos V in the Alhambra (Granada).

2016 is the 900th anniversary of the conquest of the Balearic islands by the Almoravids (1116), an event which corresponded to the greatest territorial expansion of their empire and started the moment of its maximum splendor. With the occupation of the Islands, the empire obtained a vast territory extending from Mauritania to Zaragoza, as since the end of the 11th century they had been gaining power over the taifas of Al-Andalus, becoming the most important empire of Western Islam during the first half of the 12th century. They were the first to unite the two sides of the Strait of Gibraltar under the same political and religious power. This fact enabled a lively social, commercial and cultural exchange between Al-Andalus and North Africa, centered around the great capitals of the Empire, especially the North African Marrakech, and the peninsular Granada.

Moreover, this year marks 45 years since the death of Professor Henri Terrasse, a great scholar of the art of Morocco and Al-Andalus. Among his works are several publications dedicated to the art and arquitecture of Al-Andalus, necessary starting points for anyone interested in pursuing research in these fields.
During this international seminar, several specialists of the Almoravides will commemorate the 900th centernary of the apogee of the greater Western Islamic empire, with a special attention to the legacy of Henri Terrasse.

PROGRAMME
1a JORNADA: miércoles 19 de octubre
10:00 a 10:15 – Presentación
10:15 a 11:15 – Conferencia inaugural.
“Henri Terrasse y su contribución historiográfi ca”
D. Rafael LÓPEZ GUZMÁN (Universidad de Granada). 11:15 a 11:30 – Pausa-café

Sesión de mañana:
MESA 1.- Origen, génesis y evolución del Imperio almorávide
11:30 a 12:30
“Camelleros saharianos: la caracterización de los almorávides en las fuentes”
D.a Helena DE FELIPE (Universidad de Alcalá).
12:30 a 13:30
“El primer urbanismo de Marrakech”
D. Abdellatif MAROU (Conservador de la Inspección de Monumentos y Sitios Históricos de Marrakech, Ministerio de Cultura del Reino de Marruecos).
13:30 a 14:30
“El nacimiento del Califato almohade y el  fin de los almorávides. Introducción de un nuevo arte” D.a Dolores VILLALBA SOLA (IEM – FCSH/UNL, Lisboa).
14:30 a 17:00- Almuerzo

Sesión de tarde:
MESA 2.- El Imperio almorávide: organización económica, política y jurisdicción
17:00 a 18:00
“La evolución de la organización política y administrativa del emirato almorávide al imperio almohade”
D. Pascal BURESI (CNRS, Lyon).
18:00 a 18:30- Pausa-café
[MESA 1.- Origen, génesis y evolución del Imperio almorávide]
18:30 a 19:30
“Historia de los almorávides a través de las fuentes textuales”
D.a Ma Jesús VIGUERA MOLINS (Universidad Complutense de Madrid).
19:30 a 20:00- Debate sesión de tarde

2a JORNADA: jueves 20 de octubre
Sesión de mañana
MESA 2 (b).- El Imperio almorávide: organización económica, política y jurisdicción 10:00 a 11:00
“Cadíes y cadiazgo andalusí en época almorávide”
D. Rachid EL HOUR (Universidad de Salamanca).
11:00 a 12:00
“La economía de los almorávides saharianos en el Sur de al-Andalus según sus indicios” D. Eduardo ESCARTÍN GONZÁLEZ (Universidad de Sevilla).
12:00 a 12:30 – Pausa-café
MESA 3.- Trabajos arqueológicos, conservación y difusión de la cultura material almorávide
12:30 a 13:30
“El registro arqueológico almorávide en Šarq al-Andalus: arquitectura y producciones cerámicas”
D. Pedro JIMÉNEZ CASTILLO (Escuela de Estudios Árabes – CSIC, Granada) y Manuel PÉREZ ASENSIO (Arqueólogo).
13:30 a 14:00 Debate sesión de mañana 14:00 a 17:00 – Almuerzo

Sesión de tarde
17:00 a 17:30
“La colección almorávide del Museo de la Alhambra: inventario y catálogo”
D.a Paula SÁNCHEZ GÓMEZ (Arqueóloga – Arquemus Medievalia S. L.) y Eva MORENO LEÓN (Arqueóloga – Arquemus Medievalia S. L.).
17:30 a 18:30
Visita a la colección del Museo de la Alhambra
D.a Paula SÁNCHEZ GÓMEZ (Arqueóloga – Arquemus Medievalia S. L.) y Eva MORENO LEÓN (Arqueóloga – Arquemus Medievalia S. L.).
18:30 a 19:00- Pausa-café
19:00 a 20:00
“Otra forma de enseñar la Historia”
D. Juan CASTILLA BRAZALES (Escuela de Estudios Árabes – CSIC, Granada).

3a JORNADA: viernes 21 de octubre
Sesión de mañana
MESA 4.- El arte y la cultura en la época almorávide: arquitectura, artes suntuarias y pensamiento estético
10:00 a 11:00
“La estética andalusí en el siglo XII”
D. José Miguel PUERTA VÍLCHEZ (Universidad de Granada).
11:00 a 12:00
“¿Existe un arte almorávide? Contribuciones y nuevas perspectivas”
D.a María MARCOS COBALEDA (Instituto de Estudos Medievais – FCSH/UNL, Lisboa).
12:00 a 12:30 – Pausa-café
12:30 a 13:30
“El Panteón Real del monasterio cisterciense de las Huelgas de Burgos. Historiografía, arqueología artística y modelo de conservación”
D.a Concha HERRERO CARRETERO (Patrimonio Nacional).
13:30 a 14:00 Debate sesión de mañana
14:00 a 17:00 – Almuerzo

Sesión de tarde
MESA 5.- Las civilizaciones coetáneas a los almorávides
17:00 a 18:00
“Toledo en el siglo XII: de la casa al barrio”
D. Jean PASSINI (LaDéHiS – CRH – EHESS, Paris).
18:00 a 18:30 – Pausa-café
18:30 a 19:30
“Relaciones entre musulmanes, judíos y cristianos en el Mediterráneo del siglo XII”
D. Brian A. CATLOS (University of Colorado, Boulder (EEUU) / The Mediterranean Seminar). 19:30 a 20:00 Debate sesión de tarde y conclusiones  nales

4a JORNADA: sábado 22 de octubre (opcional)
10:00 a 14:00
Visita al Palacio de Dar al-Horra, las murallas de la Alhacaba y el Bañuelo (personal de Huerto Alegre).

Time and place
El Seminario se celebrará en el Conjunto Monumental de la Alhambra y Generalife, en el Palacio de Carlos V, Granada.
Las clases tendrán lugar los días 19 al 22 de octubre de 2016, en horario de mañana y tarde (excepto el sábado 22 que será sólo de mañana).

How to apply:
Número de plazas y condiciones de admisión
El número de plazas es limitado, por lo que las solicitudes se atenderán por riguroso orden de matriculación.
La Universidad comunicará expresamente la matriculación del solicitante.
El seminario va dirigido fundamentalmente a alumnado universitario de los grados de Filología Árabe y Hebrea, Historia del Arte e Historia; medievalistas, arabistas y otros investigadores; guías e intérpretes; profesores de Instituto.

El plazo de matrícula  finaliza el 17 de octubre de 2016.
El importe es de 8 € de apertura de expediente.
Número de horas: 25.
El pago de la apertura de expediente deberá efectuarse por transferencia bancaria libre de gastos o por ingreso a la cuenta de La Caixa, O cina Isla de la Cartuja (Sevilla) IBAN: ES78 21009166752200074348

Formalización de la matrícula
Deberá aportarse la siguiente documentación:
1- Solicitud en el impreso que facilita la Universidad Internacional de Andalucía.
2- Fotocopia del DNI.
3- Justificante de haber abonado los derechos correspondientes.

New Website: Walters Ex Libris (Walters Art Museum Manuscripts)

walters-to-deleteNew Website: Walters Ex Libris (Walters Art Museum Manuscripts) online at manuscripts.thewalters.org.

Featuring a user-friendly design, the site provides visitors with intuitive search options, including the ability to refine their search by date, geography, subject, culture, and more. It also gives users a chance to coordinate their own online collections by gathering, saving and sharing their favorite masterpieces.
Images include covers and flyleaves, and provided under a Creative Commons 3.0 license that allows visitors to download publication-quality pictures for free.

To date, the Walters has digitized 45 percent of its manuscripts collection.

The manuscripts site, an ongoing project, joins the museum’s growing network of online resources, including its general website, thewalters.org, and its online collection, art.thewalters.org.

 

 

Call for Submissions: ‘Art(ifice),’ North Street Review, Spring 2017

ingolstadt_liebfrauenmc3bcnster_weinschenkenkapelle_astwerkCall for Submissions: ‘Art(ifice),’ North Street Review, University of St. Andrews
Deadline: December 1, 2016

Artifice, n. (Oxford English Dictionary ):

1. Human skill or workmanship as opposed to nature or a natural phenomenon.

2. Skill in devising and using expedients; artfulness, cunning, trickery.

These definitions of artifice contrasts human workmanship with the natural, leaving us with the dichotomy of nature versus humanity. But is art really the opposite of nature, or is there a way to bridge these two disparate domains? How do artists, curators, or collectors navigate the divide? How did viewers and creators of art approach this issue in the past, and is it even relevant question today?

How to submit: The editors of the North Street Review welcome submissions on this topic from postgraduates in Art History courses. Works between 3,000-5,000 words must be submitted to northstreetreview@gmail.com by 1 December, 2016 to be considered for publication in Spring 2017. Please format the document as a docx., adhere to Chicago style citations, and include a brief biography, with your name and affiliated institute. The North Street Review is a peer-reviewed post-graduate journal published by the School of Art History and Museum and Galleries Studies at the University of St. Andrews. Now in its twenty-first year, it has gone through many incarnations and is now a fully digital publication. For more information, please see our website.

Lectureship in Classics (Roman Art) (Including Late Antique/Early Byzantine art to c. 700 AD), School of Human Environment, University College Cork, Ireland

logo-web-englishJob: Lectureship in Classics (Roman Art), Including Late Antique/Early Byzantine art to c. 700 AD), School of Human Environment, University College Cork, Ireland
Deadline: 5pm, 01 November 2016

Contract Type: Permanent Whole-Time
Job Type: Academic
Salary: €31,821 – €56,967/€62,353 – €76,942

UCC wishes to appoint an experienced academic to the role of Lecturer in Classics (Roman Art).  Reporting to the Head of the Department of Classics, the Lecturer in Classics (Roman Art) will have a specialist interest in Roman Art, broadly understood to include Late Antique Art. The successful applicant will be required to deliver foundation and advanced teaching on aspects of Roman Art from the early Republican to the Late Antique periods, with an emphasis on art of the Imperial period. An ability to teach a classical language (Greek or Latin) is desirable, but not essential. The successful candidate may be required to teach in other areas of classical culture or history according to changing departmental needs. Candidates must hold a doctoral qualification in an area of Roman, or Late Antique, Art from a recognised University at the time of application. The holder of this post will be expected to promote student research at masters and doctoral level on different aspects of Roman Art. S/he will also be required to contribute to the academic administration of the department and college, and to engage with external bodies in areas relating to Classics.

Please note that Garda vetting and/or an international police clearance check may form part of the selection process.

How to apply: For an information package including full details of the post, selection criteria and application process see www.ucc.ie/hr/vacancies.  The University, at its discretion, may undertake to make an additional appointment(s) from this competition following the conclusion of the process.

Informal enquiries can be made in confidence to Dr. David Woods, Tel: 0035321-4903491, Email: d.woods@ucc.ie.  Further information on the Department is available at: http://www.ucc.ie/en/classics/.

Appointment may be made on the Lectureship Salary Scale: €31,821 – €56,967/€62,353 – €76,942.

To Apply:

Candidates should apply, in confidence, before 5pm on Tuesday 1st November 2016 by emailing a completed application form to recruitment@ucc.ie.

 

 

Job: Professor in Medieval Art History, Département d’histoire de l’art et d’études cinématographiques, Université de Montréal

logo-udemJob: Professor in Medieval Art History, Département d’histoire de l’art et d’études cinématographiques, Université de Montréal
Starting date: June 1st, 2017Deadline: November 9, 2016

The Département d’histoire de l’art et d’études cinématographiques is seeking applications for a full-time tenure-track position at the rank of Assistant Professor in Medieval Art History.

Ø Responsibilities

The appointed candidate will be expected to teach at all three levels of the curriculum, supervise graduate students, engage in ongoing research and publication, and contribute to the academic life and reputation of the University.

Ø Requirements

  • Ph.D. in Art History
  • Dossier of publications and research on Medieval art
  • Teaching experience in the field of Medieval art at College/University level
  • Research interest and/or teaching experience in non-Western art would be an asset
  • Proficiency in the French language

Linguistic Policy : The Université de Montréal is a Québec University with an international reputation. French is the language of instruction. To renew its teaching faculty, the University is intensively recruiting the world’s best specialists. In accordance with the institution’s language policy, [http://secretariatgeneral.umontreal.ca/fileadmin/user_upload/secretariat/doc_officiels/reglements/administration/adm10-34_politique-linguistique.pdf], the Université de Montréal provides support for newly-recruited faculty to attain proficiency in French.

Ø Salary

The Université de Montréal offers a competitive salary and a complete range of employee benefits.

 Échelle salariale

Ø Constitution of application

The application must include the following documents:

– a cover letter

– a curriculum vitæ

– 3 samples of recent publications and research

– Teaching evaluations at college/university level (if applicable)

– Three letters of recommendation are also to be sent directly to the department chair by the referees.

Application and letters of recommendation must be sent to the chair of the Département d’histoire de l’art et d’études cinématographiques by November 9, 2016 at the following address:

Madame Silvestra Mariniello, directrice

Département d’histoire de l’art et d’études cinématographiques

Faculté des arts et des sciences

Université de Montréal

  1. P. 6128, succursale Centre-ville

Montréal (QC) H3C 3J7

The complete application and letters of recommendation may also be sent electronically to the following e-mail : annie.tremblay.2@umontreal.ca.

 

For more information about the Department, please consult its Web site at:

http://www.histart@umontreal.ca