Tag Archives: art history

CFP: Travelling Objects, Travelling People: Art and Artists of Late Medieval and Renaissance Iberia and Beyond, c. 1400–1550, The Courtauld Institute of Art, 28–29 May 2020


Deadline – Friday 10 January 2020

Anonymous Portuguese cartographer, Cantino Planisphere (detail), ca. 1502. Map on parchment, 220 x 105 cm. Biblioteca Estense Universitaria, Modena, Italy. Source: Wikimedia Commons.

Travelling Objects, Travelling People aims to nuance our understanding of the exchanges and influences that shaped the artistic landscape of Medieval and Renaissance Iberia. Traditional narratives hold that late fifteenth-century Iberian art and architecture were transformed by the arrival of artists, objects and ideas from France and the Low Countries, while 1492 marked a chronological rupture and the beginning of global encounters. Challenging these perceptions, this conference will reconsider the dynamics of artistic influence in late medieval Iberia, and place European exchanges in a global context, from Madeira to Santo Domingo. Bringing together international scholars working on Spain, Portugal and a range of related geographies, it seeks to address the impact of ‘itinerant’ artworks, artists and ideas, and issues of migration and non-linear transfers of materials, techniques and iconographies.

The theme of ‘travellers’—artists who reached or departed the region, at times more than once in their lives, but also objects and concepts imported and exported—will expand and inflect traditional narratives of late medieval and Renaissance art, underscoring the complexity of global interactions and exchanges which connected the Iberian peninsula to Europe and beyond. Bringing together international scholars working on Iberia and a range of related geographies, the conference seeks to address the impact of ‘itinerant’ artworks, artists and ideas, and to expand the field of analysis beyond Europe to encompass relationships with newly acquired dominions, from Madeira to Santo Domingo.

Topics for papers may include, but are not limited to:

  • Iberian artists employed abroad, from the master mason Guillelm Sagrera in Naples, to the sculptor Juan de la Huerta at the Chartreuse de Champmol
  • The close imitation of northern artists in such works as the Portuguese copies of Quentin Metsys’s The Angel Appearing to Saints Clara, Colette and Agnes (early 16th century, Museu de Setúbal / Convento de Jesus, Portugal)
  • ‘Iberian’ objects produced elsewhere, for example Christian ivory carvings made in Goa or Kongo, Afro-Portuguese spoons, and Mexican ‘feather-work’ adopting the vocabulary of northern European late Gothic painting
  • Works made for a non-Iberian audience but purchased and displayed by local patrons.

By encouraging conversations across such seemingly disparate topics and geographies, the conference aims to position the Iberian artistic landscape within the networks of artistic exchange that spanned the medieval and Renaissance worlds, challenging the significance of 1492 as a moment of rupture between the Middle Ages and Early Modern periods.

Proposals are welcome from postgraduate, early-career and established researchers working in all relevant disciplines. Please send a title and an abstract of no more than 300 words together with a short CV and 100-word biography to Costanza.Beltrami@courtauld.ac.uk and Sylvia.Alvares-Correa@history.ox.ac.uk by Friday 10 January 2020.

Papers should not exceed 20 minutes in length. Successful candidates will be notified by 17 February. In the first instance, applicants are encouraged to apply to their home institution for travel and accommodation funding. The organisers hope to provide financial support for travel and accommodation to speakers who require it. This conference is made possible by the kind generosity of Sam Fogg.

Please click here for more information.


The next meeting of the Maius Workshop will take place tomorrow, 26 March, 4:30–5:30pm, in room Law G3 at QMUL (335 Mile End Rd, London E1 4FQ). Click here for a map of the Campus.

Jessica Barker, Lecturer in Medieval History at the Courtauld Institute of Art, will lead a seminar entitled Inscribing Colonialism in Fifteenth-Century Portugal. The session will consider inscriptions, readability and visibility in funerary monuments, and their intersections with early Portuguese explorations in West Africa.

Maius is a friendly platform for informal dialogue and collaborative research. Our sessions are open to all, and research in early stages of development is especially welcome. We look forward to seeing you at this event, and please feel free to email us with ideas and suggestions for future meetings.

Image: Detail of inscription on the north side of the monument to João I and Philippa of Lancaster, 1426–34. Founder’s Chapel, monastery of Santa Maria da Vitória, Batalha. Photo: Jessica Barker.

Job: Teaching Fellow in Architectural History and Heritage, University of Edinburgh

1200px-university_of_edinburgh_ceremonial_roundel.svg_Teaching Fellow in Architectural History and Heritage
Edinburgh School of Architecture and Landscape Architecture (ESALA)
Edinburgh College of Art

Closing Date: 5pm (GMT) on 15 March 2019

Click here for full details of this post and for the application form

Applications are invited for a fixed-term 0.7 FTE (24.5 hours per week) Teaching Fellowship in Architectural History and Heritage. The successful applicant will work within a long-established, leading programme in the history and theory of architecture, and will have expertise and experience in teaching architectural history in the contexts of architecture, history of art, and heritage studies to a high quality. You will have the skills to conceive effective and creative pedagogies and deliver these to support courses in the undergraduate and postgraduate programmes in architectural history, theory, and heritage in the Edinburgh School of Architecture and Landscape Architecture [ESALA].

You will have good communication skills, augmented by a wide and deep knowledge of architectural history and its scholarly traditions. Applications that demonstrate established skillsets in the practical aspects of architectural history and heritage, including historic building analysis and assessment, surveying, digital capture, and CAD, are especially welcome. These will be evidenced by appropriate expertise and academic achievement, and through teaching and assessment experience. You will also be able to demonstrate the ability to develop innovative teaching in classroom (lecture and seminar/tutorial) and field-research environments, including the preparation of online teaching support resources for students.

You will have a PhD-level degree in architectural history or related discipline, and have the ability to collaborate with a collegiate group committed to delivering innovative pedagogy and critical thinking through our School’s position in the University’s Edinburgh College of Art.

The post is part-time (0.7 FTE), fixed-term for 3 years.

This position is tenable from 1 August 2019 or as soon as possible thereafter.

Salary Scale: Grade UE07, £33,199 – £39,609 per annum pro rata


IX COLOQUIO ARS MEDIAEVALIS: Belleza, persuasión y retórica en el arte medieval (Aguilar de Campoo, Spain, 10 al 12 de mayo de 2019)

fmslr_cartel_arsmedievalis2019Click here for more information

En las últimas décadas, los estudios de historia del arte medieval han pasado de estudiar el significado de las obras a analizar su materialidad. Más recientemente, Mary Carruthers, Paul Binski y otros académicos han renovado el estudio sobre la experiencia estética medieval. Para desentrañar y razonar las nociones sobre belleza y fealdad durante la Edad Media, estos autores han tomado textos dispersos en Agustín, Guido de Arezzo, Alain de Lille, Pedro de Celle, Bonaventura, Robert Grosseteste, Tomás de Aquino… con los que han compensado la ausencia de un corpus documental y una filosofía articulada. ¿De qué modo se entendía que los artefactos generaban deleite, disgusto, miedo y otras emociones? El estudio de esta cuestión capital ha puesto el foco sobre cuestiones como estilo, humor, artificio, dificultad y engaño. Este giro analítico ha acarreado una provechosa consecuencia: el placer derivado de la contemplación del ornamento superficial merece tanta atención como la exégesis de las imágenes bíblicas. La reconciliación de sensaciones diversas llega a ser tan importante como la iconografía de la materia. Las imágenes se distribuían, también, para aliviar el aburrimiento y esta cuestión debe considerarse junto con la especulación teológica. Dicho de otro modo: los falsos mármoles merecen tanta atención como la piedra real, incluso tal vez más.

Basándose en trabajos recientes, y conforme a las investigaciones desarrolladas en el coloquio Ars Mediaevalisde 2018 en torno al papel de los sentidos y la memoria, este noveno coloquio considerará el poder del arte medieval en dos planos complementarios: persuadir y construir conocimiento. El objetivo del coloquio Belleza, persuasión y retórica en el arte medieval no es rechazar ni cuestionar la importancia de las ambiciones intelectuales del arte medieval. Se examinarán los modos en que ornamentos y efectos de superficie, orden y variedad, imágenes curiosas o repulsivas, el humor y el ilusionismo, los efectos armónicos y discordantes, y los sistemas de retórica visual activaron las emociones y se emplearon para fines diversos.




Gerardo Boto Varela (Universidad de Gerona) – Alejandro García Avilés (Universidad de Murcia) – Herbert L. Kessler (Johns Hopkins University)

TEMPLA – GERM Estudios Visuales – Red ARSMED


Viernes, 10 de mayo (Sede Fundación Sta. Mª la Real)

Presidencia de sesión: Javier MARTÍNEZ DE AGUIRRE / Universidad Complutense de Madrid

09.15 h.: Recepción de participantes y entrega del material

09.45 h.: Presentación e inauguración del Coloquio

10.00 h.: Mary CARRUTHERS / New York University

Ordinary Beauty and Human Sensibility*

10.45 h.: Comunicación

11.00 h.: Debate

11.20 h.: Pausa-café

11.45 h.: Paul BINSKI / University of Cambridge

Aesthetic Attitudes in Gothic Art: thoughts on Girona Cathedral*

12.30 h: Comunicaciones

13.00 h: Debate

Sesión de tarde

Presidencia de sesión: Mª Dolores TEIJEIRA PABLOS / Universidad de León

16.00 h.: Francisco PRADO VILAR / Real Colegio Complutense, Harvard

El despertar de Endimión: Belleza, tiempo y eternidad en la escultura románica y su devenir fotográfico

16.45 h.: José Miguel PUERTA VILCHEZ / Universidad de Granada

Fantasía, placer y existencia en la estética árabe clásica

17.30 h.: Debate

17.45 h.: Descanso

18.00 h.: Vincent DEBIAIS / CNRS-EHESS

El color como camino de abstracción. Aproximación lexical e iconográfica*

18.45 h.: Debate

19.00 h.: Mesa redonda: Ante la belleza en la Edad Media: persuadidos y antagonistas

Sábado, 11 de mayo (Palencia. Diputación Provincial)

Presidencia de sesión: Fernando GUTIÉRREZ BAÑOS / Universidad de Valladolid

09.45 h.: Aden KUMLER / Chicago University

Periculum and peritia: aesthetics and affects in the medievalars market”*

10.30 h.: Descanso

11.00 h.: Joan MOLINA / Universidad de Gerona

Belleza y memoria en los contextos de Alfonso V

11.45 h.: Rocío SÁNCHEZ AMEIJEIRAS / Universidad de Santiago de Compostela

Lo sublime en la poética de lo visionario

12.30 h.: Debate

16.30 h.: Visita al monasterio de Santa María la Real de las Huelgas, Burgos. Gerardo BOTO / Universitad de Gerona

Domingo, 12 de mayo (Monasterio Sta. María la Real)

Presidencia de Sesión: Alejandro GARCÍA AVILÉS / Universidad de Murcia

09.30 h.: Herbert L. KESSLER / Johns Hopkins University

Eagle or Bear: Beauty as Restorative Sunlight or Spiritual Eclipse*

10.15 h..: Comunicaciones

10.45 h.: Debate

11.00 h.: Descanso

11.30 h.: Comunicación

11.45 h.: Jeffrey HAMBURGUER / Harvard University

Medieval Ut picture poesis: Beauty, Rhetoric and Monstrosity in a Twelfth-Century Illustrated Horace*

12:30 h.: Debate

13.00 h: Conclusiones y perspectivas

13.15 h.: Clausura y entrega de certificados a los asistentes

(*) Las conferencias serán impartidas en el idioma con el que se expresa su título. De las que se expongan en inglés se entregará a los asistentes el texto traducido al castellano


Este coloquio constituye una convocatoria abierta a aquellos investigadores que deseen presentar los resultados de sus análisis en esta materia. Los interesados deberán enviar un resumen del contenido de su comunicación, con una extensión máxima de 2 páginas DIN A4, a espacio sencillo (letra Times New Roman, de 12 puntos), además de una breve selección de las referencias bibliográficas fundamentales en las que se apoyará su discurso. Todo ello se enviará a la siguiente dirección de correo electrónico: plhuerta@santamarialareal.org

El plazo para la recepción de los resúmenes finalizará el 20 de marzo y se informará sobre la aceptación o no de la comunicación antes del 30 de marzo. En el caso de las admitidas se hará saber, igualmente, el tiempo disponible para su exposición en público (trámite obligatorio), la extensión requerida para su publicación en las actas y las normas de edición.


Job: Ass. teaching prof. in History of Architecture, Pennsylvania State University, deadline January 15, 2019

Penn20State20Old20Main20tulipsThe Department of Art History at The Pennsylvania State University seeks to appoint a three-year fixed-term assistant teaching professor with a specialization in ancient or medieval architecture of any geography. The appointment will begin on August 1, 2019 and carry the possibility of renewal. We are particularly interested in candidates conversant in diverse methodologies, including those involving new technologies and/or technical art history. The department values dynamic teachers who are prepared to lead upper level undergraduate and graduate courses in their field, as well as teach large introductory classes in the history of Western architecture. Expectations include undergraduate advising, graduate mentoring, and departmental and university service. Preference will be given to candidates who have a Ph.D. in art history or a related discipline.

To apply go to https://psu.edu.jobs/ job #84579, candidates should upload a letter of application, an up-to-date CV, and the names and contact information for three references to the Penn State Electronic Job Management System.  Applications received by January 15 will be assured full consideration.  However, applications will be accepted until the position is filled.

Penn State is an equal opportunity, affirmative action employer, and is committed to providing employment opportunities to all qualified applicants without regard to race, color, religion, age, sex, sexual orientation, gender identity, national origin, disability or protected veteran status.

Funding: 2019–20 Shohet Scholars Grant Program, Research on the Ancient Mediterranean

dsc2596-1Application deadline: Jan 15, 2019

The Shohet Scholars Grant Program of the International Catacomb Society is now accepting applications to the Shohet Scholars cohort of 2019–20. Submission deadline is January 15, 2019 (11:59 p.m. EST).

This annual grant program funds research on the Ancient Mediterranean from the Hellenistic Era to the Early Middle Ages. Shohet Scholars may do their research in the fields of archeology, art history, classical studies, history, comparative religions, or related subjects. Of special interest are interdisciplinary projects that approach traditional topics from new perspectives.

One or more Shohet Scholars will be selected each year. The primary intent of the grant is to support significant, innovative research that can be completed and reported upon within and shortly after the award period. Grants may be made to seed innovative approaches and new ideas or to cover specific expenses or phases of a larger project under the direction of the applicant. At this time, awards in the range of $2,000 to $30,000 will be made. A complete history of past and present Shohet Scholars awards is available on the ICS webpage, www.catacombsociety.org.

Scholars of all institutional affiliations and independent scholars may apply for Shohet Scholar funding if they are individual or institutional members of the ICS at the time of the application submission deadline of January 15, 2019 and in possession of a doctoral degree or the equivalent.

Non-U.S. citizens may apply if a co-applicant is a legal permanent resident (i.e. already in possession of “green card” or Form I-551) or native or naturalized citizen of the U.S.A., meets all eligibility requirements, and has a genuinely collaborative and credited leadership role in the proposal. Co-applicants must submit as individuals all the necessary forms except for the research proposal, list of permissions, and budget proposal, which may be filed jointly.

Deadlines and Decisions
The application deadline for the 2018-2019 academic year is January 15, 2019. The award announcement for the 2019-2020 academic year will be made by May 1, 2019, for funding to be disbursed on 15 July 2019. Please note: starting in 2018, all funding is awarded directly to the USA-based awardee, for distribution among project co-applicants and collaborators. The ICS will no longer wire or transfer money to bank accounts outside of the USA.

Click here for application forms and instructions and here for assistance.

Questions ?
If you have any questions about the suitability of proposed projects, application procedures, or any other matters related to the Shohet Scholars Program, please consult our FAQ page or contact us at shohetscholars (at) catacombsociety.org.

23rd Annual Medieval Postgraduate Student Colloquium: Collecting (in) the Middle Ages, The Courtauld Institute of Art, 16 February 2018

23rd Annual Medieval Postgraduate Student Colloquium: Collecting (in) the Middle Ages, The Courtauld Institute of Art, 16 February 2018

Free, booking required

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

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

The Medieval Postgraduate Colloquium offers the opportunity for research students at all levels from universities across the UK and abroad to present and promote their research.

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


09.30 – 10.00:  Registration

10.00 – 10.10:  Welcome

Session 1: Assembled Objects — chaired by Teresa Lane

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

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

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

11.10 – 11.30: Discussion

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

Session 2: Strategies of Collecting — chaired by Charlotte Wytema 

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

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

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

13.00 – 13.20: Discussion

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

Session 3: Collaborating across media — chaired by Nicholas Flory

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

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

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

15.30 – 15.50: Discussion

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

Session 4: Spaces of Display — chaired by Harry Prance

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

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

17.00 – 17.30: Discussion

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

17.45: RECEPTION (Front Hall)

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