Tag Archives: drawing

Curatorial Fellowship in Old Master Drawings

British Museum, London
Application deadline: Jun 20, 2018

The British Museum Dürer_rhino_fullis looking to recruit a Getty Foundation Prints and Drawings Curatorial Fellow with a specialist interest in pre-1900 European drawings. The Fellowship funded by the Getty Foundation will enable the Fellow to work with a curatorial mentor to develop and expand their knowledge and research skills in their specialist geographical or period field of pre-1900 European drawings, as well as to broaden their wider experience of the graphic arts, and curatorship in general, through the experience of being part of a curatorial team looking after one of the world’s largest works on paper collections. During their time in the Museum the Getty Foundation Fellow will be expected to research and improve the cataloguing and provenance history of a part of the Museum’s outstanding collection of c. 60,000 pre-1900 British and European drawings, as well as playing their part in wider curatorial activities and duties of the Department and of the Museum.

Applications due 20 June 2018, please see link for application details:


Call for Papers: Der Akt der Bildwerdung. Kreativität und Schöpfungskraft zwischen 1430 und 1530, Cologne 2-3/11/2018 (Deadline 29/04/2018)

an00146423_001_lDas Werkstattgespräch wird sich inhaltlich mit Produktions- und Rezeptionsmechanismen innerhalb von Bildmedien des 15. und frühen 16. Jahrhunderts beschäftigen. Zentrales Thema ist der Prozess der Bildwerdung, also die Frage, wie die Idee und die inventio des Künstlers ins Bild übertragen werden und vor allem, wie sich dieser Übertragungsprozess im Bild nachvollziehen lässt. Dieser Frage wollen wir im Rahmen des Werkstattgesprächs nachgehen und dabei untersuchen, welchen besonderen Stellenwert die Künstler dem kreativen Schaffensprozess und dessen Sichtbarmachung einräumen.

Schon Plinius d. Ä. hatte im 35. Buch der Naturgeschichte postuliert, dass man die unvollendeten Werke der Künstler deshalb mehr bewundert würde, „weil man in ihnen die zurückgelassenen Skizzen [liniamenta] und selbst die Überlegungen [cogitations] der Künstler sieht und weil der Schmerz über die Hand, die während des Schaffens erstarrte, zu höherer Beachtung anreizt.“ Dies zeigt sich etwa in den Vorzeichnungen und Unterzeichnungen, die dem Künstler die Möglichkeit boten unbefangen zu arbeiten, zu experimentieren und das Konzept des Bildes zu verändern, da er nicht erwartete, dass diese Zeichnungen wieder sichtbar werden, nachdem verschiedene Schichten Farbe darüber aufgetragen wurden. Durch Infrarotreflektographien können wir die Intentionen und Gedanken der Werkgenese heute nachvollziehen und für Fragestellungen zum Verhältnis von materieller Form und Invention des Künstlers fruchtbar machen.
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Book roundup: Medieval architecture

All is thriving in medieval architecture publishing from the Romanesque to the Late Gothic: here are some very special books that have been published in the last few months.

As always do let us know of any recently-published medieval art history books you would like us to include in a book roundup – we would be happy to let people to know about them!


978-0-271-06645-5[1]Tom Nickson – Toledo Cathedral: Building Histories in Medieval Castile (Penn State University Press)

Medieval Toledo is famous as a center of Arabic learning and as a home to sizable Jewish, Muslim, and Christian communities. Yet its cathedral—one of the largest, richest, and best preserved in all of Europe—is little known outside Spain. In Toledo Cathedral, Tom Nickson provides the first in-depth analysis of the cathedral’s art and architecture. Focusing on the early thirteenth to the late fourteenth century, he examines over two hundred years of change and consolidation, tracing the growth of the cathedral in the city as well as the evolution of sacred places within the cathedral itself. Nickson goes on to consider this substantial monument in terms of its location in Toledo, Spain’s most cosmopolitan city in the medieval period. He also addresses the importance and symbolic significance of Toledo’s cathedral to the city and the art and architecture of the medieval Iberian Peninsula, showing how it fits in with broader narratives of change in the arts, culture, and ideology of the late medieval period in Spain and in Mediterranean Europe as a whole.

Tom Nickson is Lecturer in Medieval Art and Architecture at The Courtauld Institute of Art, London.

1400.medium[1]Costanza Beltrami – Building a Crossing Tower: A Design for Rouen Cathedral of 1516 (Paul Holberton Publishing)

Prompted by the recent discovery of an impressive three-metre tall late Gothic drawing of a soaring tower and spire, this book offers a rare insight into the processes of designing and building a major Gothic project. The drawing’s place and date of creation are unknown, and it corresponds to no surviving Gothic tower. Equally mysterious is the three-quarter, top-down perspective from which the tower is represented, without parallel in any other medieval drawings. Who drew this? When? And what did he hope to convey with his choice of a top-down representation of the tower? Building a Crossing Tower explores these questions, and uncovers the dramatic circumstances in which this drawing was created.

Costanza Beltrami is a PhD student at The Courtauld Institute of Art, London.

9781783270842[1]Ron Baxter – The Royal Abbey of Reading (Boydell and Brewer)

Reading Abbey was built by King Henry I to be a great architectural statement and his own mausoleum, as well as a place of resort and a staging point for royal itineraries for progresses in the west and south-west of England. From the start it was envisaged as a monastic site with a high degree of independence from the church hierarchy; it was granted enormous holdings of land and major religious relics to attract visitors and pilgrims, and no expense was spared in providing a church comparable in size and splendour with anything else in England.
However, in architectural terms, the abbey has, until recently, remained enigmatic, mainly because of the efficiency with which it was destroyed at the Reformation. Only recently has it become possible to bring together the scattered evidence – antiquarian drawings and historic records along with a new survey of the standing remains – into a coherent picture. This richly illustrated volume provides the first full account of the abbey, from foundation to dissolution, and offers a new virtual reconstruction of the church and its cloister; it also shows how the abbey formed the backdrop to many key historical events.

Ron Baxter is the Research Director of the Corpus of Romanesque Sculpture in Britain and Ireland.

Conference: Paper and Parchment: Medieval Music, Architectural Drawings, and Illuminated Books

pandp_0Conference: Paper and Parchment: Medieval Music, Architectural Drawings, and Illuminated Books, Kyle Morrow Room, 3rd Floor, Fondren Library, Rice University, Houston, Texas, April 6, 2016


Co-sponsored by the Minter Chair and the Department of Art History.
Free and open to the public.
9:30–9:45 a.m. Welcome
9:45–11:45 a.m. Session No. 1: New Directions in Architectural Drawings
Linda Neagley, “A New Medieval Architectural Drawing”
ert Bork, “The Regensburg Façade Drawings:
Reality, Fantasy and Geometry”
Discussant: Nancy Wu
Noon–1pm Lunch
1–2:30pm Session No. 2: Workers and Manuscripts
Jennifer Pendergrass Adams, “A Carpenter, a Nobleman, a Fisherman and a Pope: Representations of Class in the Libro dei miracoli”
Layla Seale,”Infernal Labor: Late Medieval Demons at Work”
2:30–4pm Session No. 3: Gender on Paper
and Parchment
Thom Kren, “Toward a Gendered Iconography of Patronage in Books of Hours”
Diane Wolfthal, “Illuminating Infanticide: History and Representation”
4–4:15pm Coffee break
4:15–6:30pm Medieval Music Manuscripts
Rebecca Maloy, “The Old Hispanic Offices of Holy Week”
Peter Loewen, “Singing William Herebert’s English Chant Contrafacta”
Jennifer Saltzstein, “Old French Song Reimagined and Recopied: Contrafacture and Modeling by the Thirteenth-Century Cleric, Trouvères”

For more information, please contact Diane Wolfthal at wolfthal@rice.edu

Lecture: Professor Robert Bork, “Drawings and the Transmission of Geometrical Knowledge across Time, Space, and Media”

Tuesday 24 November 20154:00 pm – 5:30 pm

The Sackler Research Forum Seminar Room, The Courtauld Institute of Art, Somerset House, Strand, London, WC2R 0RN

Open to all, no booking required!image001-723x1024

In this talk Robert Bork will consider Gothic architectural drawings as vehicles for the transmission of geometrical information, placing their development in the context of a broader tradition of geometrical design that reaches with a surprising degree of continuity across the long Middle Ages.  After brief discussion of the geometrical toolkit used by the creators of early medieval manuscripts and jewelry, he will explore the flourishing of architectural drawing in the Gothic era and its impact on both design practice and the sharing of visual information across temporal and geographical boundaries.  He will devote particular attention to the analysis of a fantastic drawing produced in or near Regensburg around 1400 that shows a single-spired façade, whose close geometrical relationship to the thirteenth-century choir of Regensburg Cathedral has not formerly been recognized.  In conclusion, he will demonstrate that many of the same geometrical techniques used by Gothic church designers were also used not only by some northern fifteenth-century painters, but also by Italian painters active in the decades around 1500, including Piero di Cosimo and Piero della Francesca.