Tag Archives: Courtauld Institute of Art

Early Career Lectureship in Medieval Art at The Courtauld, 3 years, from September 2017

The Courtauld Institute of Art seeks to appoint an Early Career Lecturer in Medieval Art (fixed-term; 3 years from 1 September 2017) to support and deliver teaching in the Department of Art History.

Salary: £35,798 pa (Inc. London Allowance)

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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.

Closing date: Monday 13 March 2017

Further details: https://jobs.courtauld.ac.uk/Vacancy.aspx?ref=121

Lecture, Prof Liz James: ‘Light and colour; dark and shadow’, 5.30pm,Tues 11th October, Courtauld Institute, London

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Church of the Theotokos Pammakaristos (Liz James)

Prof Liz James (University of Sussex): ‘Light and colour; dark and shadow’

Light and colour, darkness and shadow, are all fundamental aspects of works of art in a practical way (can we see the work?), a formal fashion (what colours are used?) and conceptually (why these colours? Why this light or this lighting?). But they are also elements of the work of art that have tended to have a secondary place within the history of art. Through a discussion of Byzantine monumental mosaics, this lecture will consider some of the ways in which light, dark, colour and shade are fundamental elements in the appearance, effectiveness and function of images. 

Liz James is Professor of Art History at the University of Sussex and a Byzantinist. She has been interested in light and colour for a long time, writing her doctoral thesis on colour in Byzantium. She has just finished writing a book about medieval mosaics (provisionally entitled ‘A short history of medieval mosaics’).

Ticket / entry details:

Tuesday 11 October 2016
5:30 pm – 6:30 pm

Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London, WC2R 0RN

This lecture launches the Frank Davis Memorial Series on Light/Darkness

Open to all, free admission

British Museum Handling Session: Master W and Key and late-gothic architectural prints 

an00059980_001_lThanks to the assistance of Lloyd De Beer and Naomi Speakman, both in progress with individual collaborative PhDs at the British Museum, the Courtauld has organised several handling sessions for postgraduate students over the past few years – you can read a report from an earlier session here.
The March session was kindly hosted by the British Museum’s Prints and Drawings department, and focused on Master W and Key (active c. 1465–1490), an anonymous Netherlandish engraver named after the shape of his monogram. Most of the eighty-two extant works by this artist are ornament prints, but he is also known for his engravings of ships, the first known representations of this kind.
Both aspects of the Master’s production were discussed during the handling session, when we had the opportunity to analyze several prints by the artist, including:
While the ships may be connected with the ducal fleet of Charles the Bold of Burgundy, scholars have generally interpreted the architectural prints as patterns to be used by craftsmen in the workshop. Nevertheless, discussion during the session raised many questions on the cost, circulation and market of such early prints. Although a modern perspective may see the printed image as a cheap, mass-produced medium, these early architectural  examples are very complex, and often required the painstaking engraving of more than one plate, printed on multiple sheets. Would such time-consuming creations really have offered a more convenient alternative to the exchange of drawings among workshops? What other reasons may have contributed to the spread of such designs?
Although this remained an open question, consideration of prints such as Alart du Hameel’s Design for a Gothic baldachin  revealed that early architectural prints could be intentionally used to advertise their maker’s expertise in design and geometry: this print features a prominent signature, a mason’s mark, and an abbreviated ground-plan which seems to imply superior technical expertise. The same consummate skill is show in Wenzel von Olmütz’s Elevation of a Gothic Pinnacle with a Hexagonal Ground Plan, although in contrast to du Hameel, Olmütz did not sign his creation, and positioned plan and elevation one above the other, as typical of other Gothic drawings and of the Gothic design process in general.
Other treats of the handling session included Emperor Heraclius entering Jerusalem with the upright True Cross, designed by Alart du Hameel but signed ‘Bosche,’ presumably in an attempt to partake of the painter’s fame; Master ES’ figured alphabet; Albrecht Dürer’s large coloured drawing of a Gothic table fountain.
Objects for the session were selected by Dr Ursula Weekes, Dr Tom Nickson and Costanza Beltrami. We also put together a short list of suggested reading on the theme of late-Gothic architectural prints and alphabets:
Kik, Oliver, ‘From Lodge to Studio: Transmissions of Architectural Knowledge in the Southern Low Countries, 1480–1530.’ In The Notion of the Painter-Architect in Italy and the Southern Low Countries, edited by Piet Lombaerde (Turnhout, 2014)
Waters, Michael, ‘A Renaissance without Order: Ornament, Single-sheet Engravings and the Mutability of Architectural Prints,’ Journal of the Society of Architectural Historians 71, no. 4 (December 2002), pp. 488-523
Kavaler, Matt, ‘Gossart as Architect,’ and the entries on The Virgin and Child with Musical Angels (p. 126) and The Malvagna Diptych (p. 136) in Maryan W. Ainsworth (ed.), Man, Myth and Sensual Pleasures: Jean Gossart’s Renaissance: The Complete Works (New Haven and London, 2010)
Boekeler, Erika, ‘Building Meaning: The First Architectural Alphabet’. In Push Me, Pull You: Art and Devotional Interaction in Late Medieval & Early Modern Europe, eds S. Blick & L. Gelfand; E.J. (Brill, 2011), pp. 149-195.

Giotto’s Circle Presents Berlin Remixed: Papers on Italian Art and Architecture from the RSA Conference.

nuremberg_chronicle_berlin[1]After the recent Renaissance Society of America conference in Berlin, the Courtauld will be hosting an opportunity for those who could not see he papers – whether due to session clash or not attending the conference – in the, Research Forum Seminar Room, 30 April, 10.00 am – 6.00 pm.

10.00 – 11.30: SPACES AND PLACES I

Alexander Roestel (The Courtauld Institute of Art): Habemus paulum: Reconstructing the Florentine Church of San Paolino

Joanna Cannon (The Courtauld Institute of Art): Relocating the Virgin. Altars and panel paintings in the Dominican churches of Tuscany.

Donal Cooper (University of Cambridge): Provincialism and Plurality in the Franciscan Church Interior

11.30 – 11.45: Break

11.45 – 1.15: SPACES AND PLACES II/WORDS AND PICTURES I

Michaela Zoeschg (Victoria and Albert Museum/The Courtauld Institute of Art): Royal Courts and Enclosed Gardens: The Frescos in Santa Maria Donnaregina (Naples) and Their Audience

Janet Robson (Independent Scholar): Pride of Place: La Verna, Monticelli, and a Trecento Painting for a Noble Clarissan Nun

Federico Botana (Queen Mary, University of London): Learning the Trade: Illustrated Abbaco Manuscripts in Fifteenth-Century Florence.

1.15 – 2.30: Lunch (not provided)

2.30 – 4.00: WORDS AND PICTURES II

Scott Nethersole (The Courtauld Institute of Art): “Your arrows have pierced me”: Perugino’s Saint Sebastian and the Spectator

Federica Pich (University of Leeds): Written for the Viewer, Painted for the Reader: On the Rhetoric of Words in Portraits

Paul Hills (The Courtauld Institute of Art): Language and the Discrimination of Colors in the Time of Titian and Veronese

4.00 – 4.30 Break

4.30 – 6.00: BEYOND TUSCANY

Bryony Bartlett-Rawlings (The Courtauld Institute of Art): ‘Beware, you envious thieves of the work and invention of others, keep your thoughtless hands from these works of ours’.

Eva Papoulia (The Courtauld Institute of Art): Gregory XIII and Sixtus V: A Known Antipathy, an Unknown Project

A WIDER VIEW

Caroline Campbell (National Gallery) – discussant in a round tablePainting and Painters in Fifteenth-Century Venice’

Closing remarks

Reception to mark the publication of Péter Bokody’s book Images-within-Images in Italian Painting (1250-1350): Reality and Reflexivity, Ashgate 2015.

Myths of Medieval Spain. Symposium, Courtauld Institute, 11 March

Detail of the Portico de la Gloria, Santiago de Compostela, late twelfth century

LAST MINUTE SPACES NOW AVAILABLE!

Myths of Medieval Spain. Symposium, Research Forum, Courtauld Institute of Art, 2-6.30, Weds 11 March 2015.

Four papers offer new ideas on a group of well-known sculptures and manuscripts from twelfth- and thirteenth-century Spain, exploring tensions between local and international concerns.

2: Introductory remarks, Tom Nickson (Courtauld Institute of Art)

2.10: Rose Walker (Courtauld Institute of Art)

Beatus manuscripts during the reign of Alfonso VIII of Castile and Leonor of England: a response to the fall of Jerusalem?

2.40: Rosa Rodríguez Porto (University of York)

Tvrpinus Domini gratia archiepiscopus: Notes on the Codex Calixtinus

3.10: James D’Emilio (University of South Florida)

The West Portals at Compostela and the Book of St. James: Artistic Eclecticism at a Cosmopolitan Shrine

3.40: discussion

4.15-5.15: tea

5.30-6.30:

Javier Martínez de Aguirre (Universidad Complutense de Madrid)

The voices and the echoes: Saint James, Gregory the Great and Diego Gelmírez in Santiago de Compostela’s Puerta de Platerías

6.30: drinks reception

ARTES

Detail of the Portico de la Gloria, Santiago de Compostela, late twelfth centuryMyths of Medieval Spain. Symposium, Research Forum, Courtauld Institute of Art, 2-6.30, Weds 11 March 2015.

Attendance is free, but spaces are limited so you must register

Four papers offer new ideas on a group of well-known sculptures and manuscripts from twelfth- and thirteenth-century Spain, exploring tensions between local and international concerns.

2: Introductory remarks, Tom Nickson (Courtauld Institute of Art)

2.10: Rose Walker (Courtauld Institute of Art)

Beatus manuscripts during the reign of Alfonso VIII of Castile and Leonor of England: a response to the fall of Jerusalem?

2.40: Rosa Rodríguez Porto (University of York)

Tvrpinus Domini gratia archiepiscopus: Notes on the Codex Calixtinus

3.10: James D’Emilio (University of South Florida)

The West Portals at Compostela and the Book of St. James: Artistic Eclecticism at a Cosmopolitan Shrine

3.40: discussion

4.15-5.15: tea

5.30-6.30:

Javier Martínez de Aguirre (Universidad Complutense de Madrid)

The voices and the echoes:…

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Conference: Fifty Years After Panofsky’s Tomb Sculpture. New Approaches, new Perspectives, New Material, London

TombofKingJohnIandQueenPhilippa_Batalha_000The Courtauld Institute of Art is holding this one-day conference in 2014 to mark the 50th anniversary of the publication of Erwin Panofsky’s Tomb Sculpture: Four Lectures on its Changing Aspects from Ancient Egypt to Bernini, comprising the lectures delivered originally in the fall of 1956 at the Institute of Fine Arts, New York. Panofsky’s lectures represented a new attempt to consider funerary monuments as artistic objects, charting developments in their iconography, style, form and function within the broader chronology of art history. Panofsky also emphasised the importance of tombs as evidence for changing (and sometimes contradictory) attitudes towards the deceased.

Examining monuments across Europe, from the Medieval to Early Modern periods, this conference will explore the legacy of Panofsky’s work as well as showcase the developments in research techniques and approaches that have led to new insights into tomb sculpture.

Saturday, 21 June 2014 10.00 – 18.00 (with registration from 09.30), Kenneth Clark Lecture Theatre

Speaker(s): Jessica Barker (The Courtauld Institute of Art), Marisa Costa (University of Lisbon), Martha Dunkelman (Canisius College), Shirin Fozi (University of Pittsburgh), Dr Phillip Lindley (University of Leicester), Professor Susie Nash (The Courtauld Institute of Art), Geoff Nuttall (Independent Scholar), Luca Palozzi (Edinburgh College of Art), Joana Ramôa Melo (New University of Lisbon), Christina Welch (University of Winchester), Kim Woods (The Open University)

http://www.courtauld.ac.uk/researchforum/events/2014/summer/jun21_FiftyYearsAfterPanofsky.shtml

 

Lecture: Romanesque Sculpture: Contexts and Perceptions from Lincoln and Pavia to Moissac and Saint-Genis-des-Fontaines, Courtauld

fernieThe Corpus of Romanesque Sculpture in Britain and Ireland requests the pleasure of your company at its Annual Lecture on Tuesday 29th April 2014 at 5.30 p.m. at the Courtauld Institute of Art.

The lecture is divided into two parts, concerning form and content respectively. The first discusses what is special about Romanesque sculpture and how it could have arisen, with particular reference to its relationship to the buildings it adorns. This section also examines the theory that architectural sculpture was developed out of church furniture.

The section on content considers a number of examples, including capitals in the cloister at Moissac, carvings on the façade of San Michele in Pavia, and a relief on the Puerta de las Platerias at Santiago de Compostela.

Professor Eric Fernie has held the posts of Professor of Fine Art at the University of Edinburgh and Director of the Courtauld Institute of the University of London. He is a fellow of the British Academy, the Royal Society of Edinburgh, the Society of Antiquaries of London (of which he has been President), and the Society of Antiquaries of Scotland.

His books include The Architecture of the Anglo-Saxons (1983), An Architectural History of Norwich Cathedral (1993), Art History and its Methods(1995), and The Architecture of Norman England (2000). He has also published some seventy chapters in books and papers in refereed journals.