Tag Archives: art

Publication: Manuscripts in the Making Art and Science, vol. 1. Edited by Stella Panayotova & Paola Ricciardi

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Manuscripts in the Making
Art and Science, vol. 1
Edited by Stella Panayotova &  Paola Ricciardi

 ISBN 978-1-909400-10-8

More Info: http://bit.ly/2ywI3Si

 This ground-breaking publication presents  the papers delivered at the international Conference held in Cambridge in December 2016 to mark the end of the Fitzwilliam Museum’s acclaimed bicentenary exhibition “Colour: The Art and Science of Illuminated Manuscripts”.  It is the first of two volumes in which medievalists and scientists share the results of their research, and combine here to elucidate both the materials and techniques  of production of illuminated  manuscripts,  as well as the artists’ collaboration and their aesthetic objectives.  Of the 34 papers given at the proceedings, 17 are included in the present volume covering scientific analyses of West European, Byzantine and Islamic manuscripts, Colour and Pigment Studies, Painting Techniques and Workshop Practices, as well as details of the latest scientific techniques and instruments employed for these non-invasive and non-destructive investigations into the delicate manuscripts. The texts are accompanied by over 200 illustrations as well as explanatory tables and diagrams. 

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Call for Papers: Art of The Invisible, Courtauld Institute of Art 19/10/2018, Deadline 14/05/2018

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An interdisciplinary conference at The Courtauld Institute of Art exploring art’s relationship with the invisible.

‘He even painted things that cannot be represented …’, Pliny eulogized Apelles in his Naturalis historia. ‘How can we with mortal eyes contemplate this image whose celestial splendour the host of heaven presumes not to behold?’, asks a Byzantine hymn dedicated to the celebrated Image of Edessa. Cennino Cennini, in the first chapter of his Libro dell’arte, writes that painting ‘…calls for imagination, and skill of hand, in order to discover things not seen, hiding themselves under the shadow of natural objects, and to fix them with the hand, presenting to plain sight what does not actually exist.’ In her 1949 essay Some memories of Pre-dada: Picabia and Duchamp, Gabrielle Buffet-Picabia tried to summarise the art of her era: ‘It would seem … that in every field, the principal direction of the 20th century was the attempt to capture the “nonperceptible”.’

Art has been preoccupied with the invisible before, between, and beyond these disparate yet kindred statements. One of artists’ greatest challenges is and has been representing the invisible subject, in its many guises. Artists working in media based on perception, such as painting, drawing, sculpture, photography, and installation, must devise strategies to visualise the invisible: It is a foundational paradox of art.

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Lecture Emmanuele Lugli “Chasing Absence: The Body of Christ and the Measures to Enter in Touch with it” 17:00 13/02/2018 Birkbeck

Mensura Christi Talk
This talk focuses on the singular devotion for the ‘mensura Christi,’ or the act of praying with objects that reproduced the height of Christ. It explores the reasons for its phenomenal success, from its diffusion in the twelfth century up to its ban in the seventeenth, and the motives for its marginalization in historical accounts today. The talk asks questions about what turns an orthodox veneration into a mere superstition, an inversion that is all the more puzzling given that the ‘mensura Christi’ relies on measuring, one of the methods to fight credulity. The lecture thus reconsiders the relationships of measuring practices, visual belief, and religious orders, thus contributing to discussions on representations, faith, and material studies.
 
All this term’s seminars take place in the History of Art Department at Birkbeck (43, Gordon Sq., London WC1H 0PD) in Room 114 (The Keynes Library) at 5pm.  Talks finish by 5.50pm (allowing those with other commitments to leave) and are then followed by discussion and refreshments.  We hope to see you there.

Job: Lecturer/senior lecturer in art history c. 1400-1800

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Salary:  Competitive salary
Closing Date:  Wednesday 21 February 2018
Interview Date:  See advert
Reference:  189

The Courtauld Institute of Art is the UK’s leading institution for teaching and research in Art History and the conservation of paintings; it is also home to one of the finest small art museums in the world. The Art History department has an outstanding research and teaching record from Late Antiquity to the Contemporary with an increasingly global outlook, and embraces its diversity of theoretical approaches and methodologies.

The Courtauld wishes to appoint a full-time Lecturer/Senior Lecturer in Art History, to begin on 1 September 2018. The successful candidate will complement the existing teaching strengths of the Department and will have a research focus in any region or period from c.1400-1800. We seek an art historian who situates their research in a wider, global context, and who shares a ‘decentred’ approach that avoids focus on only a single part of the world. An ideal candidate would be able to teach across at least one other field in a way directed by concepts of exchange and interaction, and to build bridges with other areas of art historical investigation. The candidate is expected to be able to situate their work in the theoretical and historiographical debates in their specialised research area and also engage with current issues in global Art History.

The appointee will research and publish to the highest quality and will actively pursue and apply for appropriate research grants; will provide inspiring teaching at both undergraduate and postgraduate levels; and will play an active role in the life and administration of The Courtauld.

PAY: Grade 6 (£36,644 to £41,958) or Grade 7 (£43,117 to £49,461), depending on experience

DEADLINE FOR APPLICATIONS: 21 February 2018, 23:59 GMT

INTERVIEW DATE: Interviews will be held in the week of 19 March 2018

CFP: ‘Excess,’ 34th Annual Boston University Graduate Symposium in the History of Art and Architecture, Boston University, Boston, MA, 2-3 March 2018

fixedw_large_4xCall for Papers: Excess, 34th Annual Boston University Graduate Symposium in the History of Art and Architecture, Boston University, 2-3 March 2018
Deadline: December 1, 2017

Excess conjures the idea of the extractable, left over, too much, or “extra.” Looking closely at perceptions of the extraneous reveals excess to be a historically constructed category that marks shifting notions of cultural values. Deemed peripheral, abject, deviant, and tertiary due to factors such as geographic relationships or conceptions of power at a particular moment, excess is the focal point of the 34th Annual Boston University Graduate Symposium in the History of Art & Architecture.

We invite submissions that explore themes of excess. Topics may include but are not limited to the following: opulence; decoration; the grotesque; the carnivalesque; caricature; exuberance; indulgence; exaggeration; extremes of religious or social practice and ritual; extravagant lifestyle; expressions and critiques of abundance; so-called “luxury arts”; the overbuilt.

Papers must be original and previously unpublished. Please send an abstract (300 words or less), a paper title, and a CV to bugraduatesymposiumhaa@gmail.com. The deadline for submissions is December 1, 2017. Selected speakers will be notified by December 23, 2017, and are expected to accept or decline the offer within a week of notification. Papers should be 20 minutes in length and will be followed by a question and answer session.

The Symposium will be held Friday, March 2 – Saturday, March 3, 2018, with a keynote lecture (TBD) on Friday evening at the Boston University Art Gallery at the Stone Gallery and graduate presentations on Saturday at the Museum of Fine Arts, Boston.

This event is generously sponsored by the Boston University Center for the Humanities; the Boston University Department of History of Art & Architecture; the Museum of Fine Arts, Boston; the Boston University Graduate Student History of Art & Architecture Association; and the Boston University Art Gallery at the Stone Gallery.

For additional information, please visit:
http://www.bu.edu/ah/students/graduate-student-history-of-art-architecture-association/the-symposium/

CFP: International conference: ‘Multiplied and Modified. Reception of the Printed Image in the Fifteenth and Sixteenth Centuries,’ University of Warsaw and the National Museum in Warsaw, June 28 – 29, 2018

banderolesCall for Papers: International conference: Multiplied and Modified. Reception of the Printed Image in the Fifteenth and Sixteenth Centuries, University of Warsaw and the National Museum in Warsaw, June 28 – 29, 2018
Deadline:  15 January 2018

Keynote speakers:
Jean Michel Massing (University of Cambridge)
Suzanne Karr Schmidt (The Newberry, Chicago)

The production of printed image consists of a multiplication of a particular design, whereas the consumption and reception of single impressions often involve various modifications. Multiple, but virtually identical woodcuts or engravings reproduce and thus disseminate the original composition, while at the same time they have lives of their own. They have been placed in various contexts, coloured, trimmed, framed, pasted into books and onto other objects. The place of prints in both visual and material culture of the fifteenth and sixteenth centuries is a continuously growing field in recent scholarship. However, these studies usually focus on the most prominent centres of production situated in Italy, the Low Countries, France and the Empire. The principal aim of the conference Multiplied and Modified. Reception of the Printed Image in the Fifteenth and Sixteenth Centuries is to contribute to the research on the beginning and early development of the graphic arts from the perspective of the beholder, while broadening geographically the field of inquiry, i.e. by shifting the emphasis to the regions of Central Europe, the British Isles, the Iberian Peninsula, Dalmatia, as well as considering the reception of the European prints on other continents.
Possible topics include but are not limited to:
– Practices of consumption of printed images (owners and beholders, reasons for their interest in printed images; collecting and connoisseurship; printed images in public spaces and in households)
– Printed images in the early modern iconography and contemporary written sources
– Print market, copyright and censorship; printed images in confessional disputes
– Reproductive function of printed images and modifications, adaptations and transformations of original designs, matrices and single impressions
– Printmaking and bookmaking  (role of illustrations in printed books as compared with handwritten illuminated codices; illustrated books and broadsheets, written commentaries to woodcuts and engravings)
We invite proposals from scholars of all disciplines working on the history of print culture.

Papers should be twenty minutes in length and will be followed by a ten-minute Q&A session.
Please e-mail an abstract of no more than 300 words to Magdalena Herman (multipliedandmodified@uw.edu.pl) by January 15, 2018.

Along with your abstract please include your name, institution, paper title and a brief biography of no more than 200 words. Successful applicants will be notified by February 19, 2018. Please indicate whether you would be interested in further developing your paper for a publication.

Reference / Quellennachweis:
CFP: Multiplied and Modified (Warsaw, 28-29 Jun 18). In: ArtHist.net, Oct 31, 2017. <https://arthist.net/archive/16627>.

Deadline 15 November: The Courtauld Institute of Art’s 23rd Annual Medieval Postgraduate Colloquium: Collecting (in) the Middle Ages, 16 February 2018

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Call for papers: The Courtauld Institute of Art’s 23rd Annual Medieval Postgraduate Colloquium: Collecting (in) the Middle Ages, The Courtauld Institute of Art, 16 February 2017
Deadline: 15 November 2017

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.

Inspired by objects such as a cedar box chest once kept in the Holy of Holies of the Lateran, this colloquium seeks to explore a diverse set of topics surrounding medieval practices of collecting. This wooden box may seem simple, but once opened it reveals a priceless collection: fragments of rock and wood from the Holy Land, each labelled with its precise place of origin by a sixth-century hand. Here and there, stones have fallen out, leaving imprints in the soil. The wooden relic chest is an object of small size and almost no material value, but has nevertheless been treasured for centuries by one of the largest and most powerful institutions of the medieval world.

The study of medieval collecting raises a variety of questions. How and why were objects collected, practically and conceptually? What was their expected time-span and what enabled their survival? How have medieval collections impacted modern scholarship, and how do modern collecting and display practices influence our interpretation of the past?

Applicants to the colloquium are encouraged to explore these issues from a diverse range of methodologies, analysing objects from the 6th to the 16th century and from a wide-ranging geographical span. Possible areas of discussion might include:

  • Collecting through time: How do we define the medieval collection/collector? How did medieval objects take on new meanings in medieval collections, ie. in the case of spolia? How has scholarship on medieval art been influenced by varying collecting practices and curatorial strategies across time?
  • Collecting in space: can the idea of the ‘collection’ be expanded to include objects, places and spaces spread across different geographical locales? Could objects or spaces communicate their commonality across a distance? How did pilgrimage routes, travel narratives and travel guides conceptualize their surroundings and weave a thread through geographical and historical difference?
  • Collectors, intermediaries, and craftsmen: how did institutions and single collectors acquire and expand their collections? For example, did they rely on a merchant network to acquire foreign objects or new relics? Did they collect newly commissioned objects, and display them in purpose-built spaces?
  • Collections and Legacies: how did inheritance impact the notion of collecting, looking forwards as well backwards? How did the meaning of objects change as they were passed down through families and dynasties? What happened to collections when familial lines ended? How did individuals link themselves to courts or dynasties through collections?
  • Accessibility: When, how and why were collections visible? Were there different levels of accessibility and interaction and who was allowed to ‘access all areas’? How were restricted collections advertised and open collections protected? And did objects themselves interact with each other, for example in specific displays or assemblages?
  • Organising Collections: What were the systems for assembling a collection, and for how they were curated? How did purpose-built spaces impact the growth of collections, and vice-versa? What were the roles of documents in collections, and how have medieval recording practices influenced modern views of the medieval collection?

The Medieval Postgraduate Colloquium offers an opportunity for research students at all levels from universities across the UK and abroad to present, discuss and promote their research. To apply, please send a proposal of up to 250 words for a 20 minute paper, together with a CV, to costanza.beltrami@courtauld.ac.uk and maggie.crosland@courtauld.ac.uk no later than 15 November 2017.

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