Medieval Art Research

Conference: The Culture of the Upper Rhine Valley in the Late Middle Ages and Early Renaissance

SOUTH GERMANY
The Culture of the Upper Rhine Valley
in the Late Middle Ages and Early Renaissance
21 March 2014 at the Warburg Institute

Organised by: Cornelia Linde (German Historical Institute), Nigel F. Palmer (Oxford), Stephen Mossman (Liverpool) and Peter Mack (Warburg Institute)

Speakers: Martina Backes (Freiburg), Sigrid Harbodian (Tubingen), Nikolaus Henkel (Hamburg), Stephen Mossman (Liverpool), Balázs J. Nemes (Freiburg) and Annette Volfing (Oxford)

Programme

Thursday, 20 March 2014
German Historical Institute, 17 Bloomsbury Square, London WC1A 2NJ
5:30pm
Nigel F. Palmer (Oxford): The Literary History of the Upper Rhine in the Later Middle Ages: Carthusians, Dominican Nuns and Knights Hospitaller.

Followed by reception

Friday, 21 March
Warburg Institute, Woburn Square, London WC1H 0AB

10.00 Registration and Coffee

10.30
Stephen Mossman (Manchester): Religious Writing in the German South-West in the Age of Ruusbroec

11.20
Martina Backes (Freiburg): Retelling the Bible: The Illustrated Manuscripts of “Der saelden hort”

12.10
Sigrid Hirbodian (Tübingen): Female Proponents and Opponents of Monastic Reform. Strategies and Agency of Religious Women in the Reforms of the 15th Century

1.00-2.00 Lunch

2.00
Annette Volfing (Oxford): Johannes Geiler von Kaysersberg and Late Medieval Contemplative Practice

2.50
Balázs J. Nemes (Freiburg): Lost in Transmission? – Heinrich Laufenberg in Song-Books of the 15th Century

3.40 Tea

4.10
Nikolaus Henkel (Hamburg): Sebastian Brant as an Academic Lawyer, Editor, and Poet at the Time of theNarrenschiff (Basel 1494)

5.00 Concluding Discussion

On the evening before the conference, on Thursday, 20 March 2014, there will be a talk by Nigel Palmer at the German Historical Institute on “The Literary History of the Upper Rhine in the later Middle Ages: Carthusians, Dominican Nuns and Knights Hospitaller”.

Illustration: Anonymous, German, Upper Rhine, 15th century, Saint Bernard Vanquishing the Devil

Fees and Registration

Conference fees
Unless otherwise stated conferences fees (which include coffee/tea, and a sandwich lunch) are as follows:

· One day conferences: £25 (£12.50 concessionary rate for full-time students/retired)

· Two day conferences: £40 (£25 for concessionary rate for full-time students/retired)

To check the details please visit the individual webpage for the conference you are interested in.

Conference catering: We provide a range of meat/fish and vegetarian rolls/sandwiches for lunch. If you have other dietary requirements please email warburg(at)sas.ac.uk at least ten days before the conference so that we can try to cater for your needs.
Registering and paying for a conference/course

Please note that in order to attend Institute conferences you need to register and pay online in advance (except where otherwise instructed for a limited number of free conferences). Our Lecture Room can only accommodate 90 people and our conferences are often fully booked in advance. If you come to a conference without booking and paying in advance you may be disappointed.

CLICK HERE TO REGISTER ONLINE
http://store.london.ac.uk/browse/department.asp?compid=1&modid=5&deptid=179
NB: online registration closes 24 HOURS BEFORE the start of each conference

If you are registering for a 2 day conference but only wish to attend for one day, please email warburg(at)sas.ac.ukto register. In your email please say which day of the conference you wish to attend and whether you are standard or concessionary rate (as explained above under Conference fees).

If you are unable to pay online, you can pay by cheque or cash in advance of the conference, but only if you are based in the UK. Attendees from outside the UK must pay online in advance.

· To pay by cheque: please send your cheque made out to The University of London with a note of your name, email, phone number, name of your institution if relevant, and the name of the conference you wish to attend to: Warburg Events, The Warburg Institute, Woburn Square, London WC1H 0AB.

· To pay in cash: please visit the Institute to pay on weekdays from 10.00 to 13.00, or 14.00 to 17.00.

Queries

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If you have any queries about the registration process please email: warburg(at)sas.ac.uk

Clothing Sacred Scripture (Zurich 9-11 Oct 14)

Zurich, October 9 – 11, 2014
Deadline: Feb 25, 2014

In a traditional perspective, book religions are seen as agents of
logocentrism, establishing a sharp dichotomy between scripture and
aesthetics, religion and art. This judgment was based primarily on
dogmatic assumptions and posterior idealizations, however. In the light
of their material, performative and artistic practice, religions of the
book show a surprisingly strong tendency to evolve their
own »aesthetics of inlibration«. Especially in pretypographic
cultures, »clothing« sacred texts with precious materials and ornate
forms was a powerful instrument for creating a close relation between
the divine words and their human audience.

The questions this conference aims to address grow from a comparative
and transcultural approach to religious book culture. Whereas
traditional research on book art has focused on single textual
communities within exclusive religious frameworks, we propose to look
beyond these boundaries. Our discussion of various strategies for
clothing sacred scripture shall include objects and practices from all
Abrahamic religions. Judaism, Christianity, and Islam developed
different approaches to the aesthetics of inlibration. By analyzing and
comparing these practices of religious book art, we aim to better
understand their cultural and historical specificity within a broader
spectrum.

To which extent the choice of materials, book formats, and artistic
patterns mark religious difference and shape religious identity is one
of several questions this conference will address. Yet »Clothing« the
book could also produce the contrary effect. Since it was based on
practices of circulation and exchange between different religious
cultures, it could also undermine claims of religious identity and
absolute truth.

Furthermore, addressing questions of materiality and mediality should
not obfuscate the conflicts and tensions that arise at times between
the visual and tactile dimension and the invisible and intangible
dimension of sacred books. In this respect, the activity of adorning
holy scripture appears to be located between two extremes that
characterize the concept of the book. On the one hand, the book is a
visible and tangible container of God’s animate speech, on the other,
the book is a threshold that leads to the invisible and immaterial
realm of God’s holy words.

This conference will explore both sides of the nexus between sacred
scripture and art. How did art shape the religious practice of books,
and how did the central importance of religious books shape the
evolution of artistic practices? The organizers welcome contributions
from a wide range of medievalist research, discussing topics such as:

– the spatial and temporal structure of books. How do books articulate
the process of opening, unfolding, and closing, and how does their
physical or visual structure contrast exterior with interior spaces,
beginnings with endings? How do these elements create different spheres
and times of revelation?

– the performativity of book rituals. Which kind of ritual activities
(in the broadest sense) involve sacred books? How does book art answer
to the dynamics of animating the letter by reading, singing,
displaying, carrying, illuminating and writing or burying books?

– materiality and its transformation. Which materials were chosen for
creating sacred books, which semantic values and transformative forces
were ascribed to them, and in which ways did these materials contribute
to mediate between human and divine spheres?

– ornament and its rejection. Analyzing the art of sacred books can
lead to a more nuanced understanding of ornamental practices. In some
contexts, traditional ornament is rejected in favor of scripture in its
purest form, thus generating a kind of anti-ornamental décor for the
book. So when was ornamentation considered merely a mundane practice?
And which arguments were put forward to propagate ornament as evocation
of divine beauty?

– iconicity and aniconicity of decorated books. Recent scholarship has
underlined analogies between the cult of books and the cult of images.
This approach has opened new avenues of thought for perceiving books as
objects and not just as texts. Some book religions tend to contrast
books with images, however, and treat books as alternative solutions
for worship. How is the clothing of books related to these contrasting
principles of iconicity and aniconicity?

Please send Please send proposals of up to 300 words for 30min papers
and a short CV to:
David Ganz (david.ganz@uzh.ch) and Barbara Schellewald
(Barbara.Schellewald@unibas.ch) by February 25 2014

Reference / Quellennachweis:
CFP: Clothing sacred scripture (Zurich 9-11 Oct 14). In: H-ArtHist, Feb
5, 2014. <http://arthist.net/archive/6927>.

Workshop and Symposium: Minorities in the Mediterranean (7 & 8 March, San Francisco)

The Mediterranean Seminar/University of California Multi-Campus Research Project and the departments of Comparative and World Literature, History, Jewish Studies, and the Spanish Program of the Department of Foreign Languages and Literatures at San Francisco State University invite participants to a two-day, two-part event on Medieval and Early Modern Minorities in the Mediterranean, to be held on 7 & 8 March 2014at San Francisco State University, San Francisco, CA. Participants from the broadest range of relevant disciplines are welcome and encouraged to register.

Mediterranean Minorities – Symposium
Friday, 7 March, 10am—5:30pm
Humanities Bldg, Rm 587
A one-day symposium consisting of three round table discussions:
1) Opportunity
2) Assimilation and Exchange
3) Vulnerability
featuring:
Fred Astren (Jewish Studies, San Francisco State)
Jeremy Brown (Hebrew and Judaic Studies, New York University)
Brian Catlos (Religious Studies, CU Boulder/ Humanities, University of California, Santa Cruz)
Tom Dandelet (History, University of California at Berkeley)
John Dagenais (Spanish and Portuguese, UCLA)
Federica Francesconi (Jewish Studies, University of Oregon)
Paolo Girardelli (History, Boğaziçi University)
Mike Hammer (Spanish, San Francisco State)
Joshua Holo (Hebrew Union College-Jewish Institute of Religion)
Slobodan Dan Paich (Artship Foundation, San Francisco CA)
Jonathan Ray (Jewish Studies, Georgetown University)
Jarbel Rodriguez (History, San Francisco State)
Stefan Stantchev (History, Arizona State University)
David Wacks (Romance Languages, University of Oregon)
Valerie Wilhite (Romance Languages, University of Oregon)
Megan Williams (History, San Francisco State)

Mediterranean Minorities – Workshop
Saturday, 8 March, 9:30am—5:15pm
Humanities Bldg, Rm 587
A workshop consisting of three pre-circulated papers and a talk by our featured scholar:
Papers:
• “Do Mediterranean Studies Speak to Latin American Colonial Studies? A Suspected German Lutheran Conquers A Suspected “Morisco”in the Canaries Before Taking On the New World”
Giovanna Montenegro (Comparative Literature, University of California, Davis);
• “Alexandria ad Aegyptum”
Dan Selden (Literature, University of Californi,a Santa Cruz)
• Being Different in the Medieval Middle East? The Poet’s Story”
Jocelyn Sharlet (Comparative Literature, University of California, Davis)

Featured scholar:
Stephen Humphreys (History, University of California Santa Barbara):
“Adapting to the Infidel: the Christian Communities of Syria in the Early Islamic Period”

Full program for conference and workshop available soon at http://mediterraneanseminar.ihr.ucsc.edu/overview/.

All interested graduate students and scholars are welcome. Both events are free but pre-registration is required; attendance is limited so please register soon. UC-and SFSU-affiliated scholars may register immediately, non-UC scholars on or after February 7. Lunch will be provided on both days for attendees who register prior to February 26.

To register for the workshop and/or conference and receive the workshop papers, please contact Courtney Mahaney (cmahaney@ucsc.edu) at the University of California, Santa Cruz. UC-affiliated faculty and graduate students will be eligible for up to $350 for travel expenses; non-UC participants may apply but support will granted as available (contingent on availability and attendance at both events).

The Mediterranean Seminar is an interdisciplinary scholarly forum, the aim of which is to promote collaborative research and the development of the field of Mediterranean Studies. The UC Mediterranean Studies Multi-Campus Research Project is funded by the UC Office of the President and is administered by the Institute for Humanities Research at the University of California, Santa Cruz.

Radio: BBC Radio 3 – The Essay, Islamic Architecture: The Islamic Golden Age

This major essay series continues as leading thinkers and practitioners share their knowledge and passion for the Golden Age of Islam. Dr. Sussan Babaie from the Courtauld Institute is an expert in Islamic architecture. She turns the spotlight on two significant monuments of the early medieval period in the Islamic world: the 10th century royal mausoleaum of the Samanid dynasty in Bukhara, present-day Uzbekistan and the 11th to 12th century developments in the great congregational mosque of Isfahan, in central Iran, built under the patronage of the Seljuq dynasty.

http://www.bbc.co.uk/programmes/b03t0dc0

Byzantine Studies Symposium, Knowing Bodies, Passionate Souls: Sense Perceptions in Byzantium

“Knowing Bodies, Passionate Souls: Sense Perceptions in Byzantium”

Byzantine Studies Symposium | April 25-27, 2014

Symposiarchs: Susan Ashbrook Harvey, Brown University and Margaret Mullett, Dumbarton Oaks.

Byzantine culture was notably attuned to a cosmos of multiple domains: material, immaterial; bodily, intellectual, physical, spiritual; human, divine. Despite a prevailing discourse to the contrary, the Byzantine world found its bridges between domains most often in sensory modes of awareness. These different domains were concretely perceptible; further, they were encountered daily amidst the mundane no less than the exalted. Icons, incense, music, sacred architecture, ritual activity; saints, imperial families, persons at prayer; hymnography, ascetical or mystical literature: in all of its cultural expressions, the Byzantines excelled in highlighting the intersections between human and divine realms through sensory engagement (whether positive or negative).

Byzantinists have been slow to look at the operations of the senses in Byzantium, especially those of seeing, its relation to the other senses, and phenomenological approaches in general. More recently work on smell and hearing has followed, and yet the areas of taste and touch—the most universal and the most necessary of the senses—are still largely uncharted. Nor has much been done to explore how Byzantines viewed the senses, or how they envisaged the sensory interactions with their world. A map of the connections between of sense-perceptions and other processes (of perception, memory, visualization) in the Byzantine brain has still to be sketched out. How did the Byzantines describe, narrate or represent the senses at work? It is hoped to further studies of the operations of individual senses in Byzantium in the context of all the senses, and their place in what the Byzantines thought about perception and cognition. Recent work on dreaming, on memory and on the emotions has made advances possible, and collaborative experiments between Byzantinists and neurological scientists open further approaches. The happy coincidence of a Dumbarton Oaks Garden and Landscape symposium on ‘Senses in the landscape: non-visual experiences’ and of a forthcoming exhibition at the Walters Art Museum on the five senses enable some cross-cultural comparisons to be made involving gardens in Islamic Spain, Hebrew hymnography, Syriac wine-poetry, Mediterranean ordure, and Romanesque and Gothic precious objects—that were not just looked at but also touched, smelled, heard. Architects, musicologists, art historians, archaeologists, philologists, all can contribute approaches to the revelation of the Byzantine sensorium.

Publication News: Commentari d’arte 52-53

Commentari d’arte, rivista di critica e storia dell’arte

Anno XVIII, n. 52-53 – maggio-dicembre 2012
Contents:

Carlo Loiacovo, “Commentari d’Arte”: una rivista aperta ai giovani
p. 4

Articles:
Giacomo Guazzini, Il coro delle monache di San Pier Maggiore a Pistoia: funzione e percezione di un inedito ciclo decorativo di primo Trecento
p. 5

Anna Sgarrella, Per un riesame del corpus di magister Andriolus tajapiera
p. 22

Silvia De Luca, La Madonna della Misericordia della Pieve di Canoscio: una possibile fonte figurativa per Piero della Francesca
p. 37

Giancarlo Gentilini, Ercole e il centauro ed altre Fatiche: una proposta per Giovanni Bandini scultore in argento
p. 50

Lorenzo Principi, La Madonna delle Grazie di Grottaferrata: una proposta per la gioventù di Giovanni di Biasuccio da Fontavignone
p. 60

Francesco Traversi, Un Crocifisso dei Sangallo a Santa Croce sull’Arno
p. 75

Miles Chappell, Postilla per una copia
p. 82

Alessandro Nesi, Sull’Elemosina del Beato Tommaso da Villanova della Propositura di Scarperia (Firenze): da Cavalori a Coccapani?
p. 86

Andrea Cambi, Torello Macchia (1864-1948): un architetto eclettico
p. 94

Adriano Marinazzo, Ipotesi su un disegno michelangiolesco del foglio XIII, 175 v, dell’Archivio Buonarroti
p. 108

Lanfranco Ravelli, Contributo per Nicola van Houbraken (Messina 1660 –
Livorno 1723)
p. 111

Caterina Zappia, Le Alpi frontiera della bohème
p. 113

Publication News: Giotto and the Flood of Florence in 1333

Giotto and the Flood of Florence in 1333 : A Study in Catastrophism, Guild Organisation, and Art Technology by Erling S. Skaug

Giotto di Bondone was the key figure in the transition from medieval to modern in European painting. It is well known that he, on 12 April 1334, was appointed architect of the cathedral of Florence, and that he made a design for the campanile. But it has never been explained why he was offered that task, and at that particular point of time. Was it just an honorary position for the aging artist, shortly before his death? Or was his actual commission to organise the rebuilding of vital parts of the city after the disastrous flood of 4 November 1333 – the worst catastrophe of its kind until the one in 1966? By this angle of approach, based upon the textual evidence of the nomination, it becomes possible to put together several pieces of a puzzle that makes up an entirely new picture of a moment in the history of Florencee. Elements as different as Giotto’s stay at the French court in Naples, the introduction of punched decoration in Florentine painting, the dating of some of his problematic altarpieces, the Florentine painters’ place int he city’s gild structure as shown by their formal titles, and a perhaps surprising glimpse into Giotto’s workshop in its late period can all be shown to be causally connected.

Call for Papers: Gothic Ivories: Content and Context

Gothic Ivories: Content and Context, which will take place on Saturday 5 July at The Courtauld Institute of Art, and Sunday 6 July 2014 at The British Museum.

Proposals are invited for papers to be presented at this two-day conference in July 2014, jointly organised by the British Museum and the Courtauld Gothic Ivories Project.
The papers will be presented in themed sessions, with contributions lasting 20 minutes.

Launched on the web in December 2010, the Gothic Ivories Project has played an important part in putting Gothic ivory carving in the limelight and over 3,800 objects are now available online, from hundreds of museums around the world. Following the landmark conference ‘Gothic Ivories: Old Questions, New Directions’ organised by the Victoria & Albert Museum and The Courtauld in 2012, this second conference aims to showcase and celebrate new research in this field.

Papers are invited on a wide range of topics arising from the study of Gothic ivory carving and related to the themes of content and context. If the former is inextricably linked to the latter, especially at the time of creation, their relationship evolves, as the meaning and uses of the objects change over time. Content can be understood as the iconography chosen for a particular sculpture or group of sculptures, and its meaning, and this will apply to medieval as well as later neo-Gothic pieces. Context can refer to the original context, i.e. makers and commissioners, questions of origin and style, relationships with artworks in other media, but also to the later context and history of these objects to the present day (history of collecting, casts and reproductions, museology, for instance), questions of use and reuse over time.

The conference also welcomes papers on artworks carved out of related materials, such as horn, walrus ivory, or bone (for instance, horn saddles, chess pieces or Embriachi work).

Proposals should take the form of a short text (max. 200 words), outlining the paper’s title, the main themes, and the object(s) on which the study will concentrate. Some indication of where the research sits within the historiography would also be of use.

Please send proposals for 20-minute papers of no more than 200 words to Naomi Speakman at nspeakman@britishmuseum.org and Dr Catherine Yvard at catherine.yvard@courtauld.ac.uk no later than Monday 18 March 2014.

For further information visit the website.

Call for Papers: Invention and Imagination in British Art and Architecture, 600-1500

This conference will explore the ways in which artists and patrons in Britain devised and introduced new or distinctive imagery, styles and techniques, as well as novel approaches to bringing different media together. It is concerned with the mechanisms of innovation, with inventive and imaginative processes, and with the relations between conventions and individual expression. The conversation will therefore also address the very notions of sameness and difference in medieval art and architecture, and how these may be evaluated and explained historically.

Topics for discussion can include authorship, creativity, experimentation, envisaging, representation, and regulation by guilds or patrons, as well as case studies of particular objects, buildings, commissions or practices.

The conference will take place on 30th October – 1st November at the Paul Mellon Centre and The British Museum; it will include collaborations with the museum’s Department of Prehistory & Europe and opportunities to see works from the collection.

Papers should be of 20 minutes’ duration. Proposals/abstracts of 500 words should be submitted to Ella Fleming by 25 March 2014: efleming@paul-mellon-centre.ac.uk

Conference organised by the Paul Mellon Centre, with Sandy Heslop (University of East Anglia), Jessica Berenbeim (University of Oxford), Lloyd DeBeer and Naomi Speakman (The British Museum)

Call for Applications: Reading Craft: Itineraries of Culture, Knowledge and Power in the Global Ecumene

Five days of interactive “Summer School” training
Reading Craft: Itineraries of Culture, Knowledge and Power in the Global Ecumene

The Summer Programme on “Reading Craft in the Long Global Ecumene” is meant for PhD Students. This means that we do not accept students other than PhD researchers.

To apply for participation in the Summer School 2014, please fill in the Application form. Registration closes Friday 14 February 2014, 9.00 am CET.

The IIAS Summer School at Chiang Mai will focus on the theoretical issue of the knowledge production, transmission and practice of culture against the backdrop of historically contingent case studies featuring transnational circulations of craft. Cartographies, itineraries and biographies of craft are windows into craft-scapes which, much like Barbara Bender’s work on landscapes, are discursively constructed, disputed, worked upon from disparate frames of value and meaning, and used to accomplish goals pertaining to identity, heritage politics, knowledge and power.

The Summer School is an occasion to problematize conceptions of culture articulated through readings of craft across territorial boundaries, temporal episodes and knowledge categories. Alternative readings of craft seek to challenge place-based rootedness of culture in colonial ‘cryptocolonial’ (Herzfeld) and postcolonial constructions in order to emphasize its circulation in global interactions and trajectories. Focusing on ‘social lives’ (Appadurai) or ‘cultural biographies’ (Kopytoff) through records of journeys undertaken and routes charted by the movement of individuals, materials, techniques, recipes, designs and objects within and across diverse epistemic regimes and contexts would allow us to ‘read’ craft from a global perspective.

There is a need for what Françoise Vergès, calls an ‘alternate cartography’, tracing the material lives and unexpected contributions of ‘the people without history’ in Eric Wolfe’s words – anonymous slaves, refugees, exiles, spies, servants and artisans, in colonial and postcolonial historiographies. Locating craft within global networks of power and knowledge at the Chiang Mai Summer School would not only help to recover subaltern micro-histories but also focus our attention upon counter hegemonic appropriations of materials, techniques, recipes, designs and objects over the long globalization. Engaging with the ‘epistemic travels’ and ‘itineraries’ of such knowledge, according to Pamela H. Smith, would expose those readings of craft which anticipated the construction of new regimes and hierarchies of intellectual authority since the beginning of the modern world. Identifying the shifting agents and sites through which craft as a discourse of culture is formulated and sanctioned in late capitalism would, moreover, spotlight the ways in which practitioners of craft are drawn into what Michael Herzfeld refers to as the ‘global hierarchy of value’.

Conversations at the Chiang Mai Summer School will revolve around critical reflections on craft in Asian contexts around the following sub-themes among others:

Craft as a knowledge system, and knowledge practices of craft since the early modern era
Circulation of craft in Eurasian networks of trade, power and cultural exchange
Craft as postcolonial and crypto-colonial national heritage
The production and reproduction of hierarchies of gender, class and race through craft – identity contestations
Interrogating the “what” of craft: disputes over origin, ownership, authenticity, aesthetics, ethics and representation
Engaging with the Local/Global dichotomy through the lens of craft

The Summer School, which will also include some hands-on experience with local artisans, therefore encourages participants whose work seeks to engage with the history and politics of craft through its reading within the long and global mobilities of science, technology, art and fashion.

Francoise Verges, Pamela Smith and Aarti Kawlra will lead the Summer School with Michael Herzfeld as guest co-convenor and Chayan Vaddhanaphuti as host co-convenor. Together they bring to the School a rich mixture of intellectual perspectives and individual trajectories to facilitate discussions with research students from diverse disciplinary backgrounds in an atmosphere of openness and inquiry. Exposure to various craft discourses and practices (indigo dyeing, hand-weaving and bamboo architecture among others) prevailing in the culturally vibrant context of Chiang Mai will provide an unprecedented learning experience for the participants. The conjunction of field work with classroom exercises at the Summer School will, moreover, help them as they pursue their own research projects, to elicit and develop new theoretical paradigms of craft informed by case studies from various contexts in Asia and elsewhere.

For further information visit the website.