Tag Archives: economy

Conference: Art and Economy in France and Italy in the 14th century: new research

giottotodeleteConference: Art et économie en France et en Italie au XIVe siècle. Nouvelles enquêtes,Art et économie en France et en Italie au XIVe siècle. Nouvelles enquêtes, Université de Lausanne, 19-20 October 2017

 

 

Programme:

Jeudi 19 octobre 2017

Nicolas Bock, Michele Tomasi
Introduction

14h30 L’Italie au Trecento et au Quattrocento : da Giotto alla morte !

Damien Cerutti
Giotto & Cie. Réflexions sur le marché pictural florentin dans le deuxième quart du Trecento

Katalin Prajda
Finanze e attività imprenditoriale nelle industrie pittoriche, orafe e di carpenteria nella Firenze del primo Rinascimento. Come la seta divenne una specialità fiorentina

Fabio Marcelli
Arte, civiltà comunale ed economia nell’Appennino umbro-marchigiano

Giampaolo Ermini
Il cantiere del coro trecentesco del duomo di Orvieto: manovalanza, materiali, costi e finanziamenti

Paola Vitolo
Spese della morte: investimenti per l’aldilà (e per l’al di qua) e pratica artistica (Italia, XIII-XIV secolo)

 

Vendredi 20 octobre 2017

9h00 Les arts de luxe

Chiara Maggioni
Orfèvreries à Mantoue au XIVe siècle : frais, évaluations, valeurs de marché

Andrea Cravero
Vetri dorati e graffiti del basso medioevo: economia di una bottega assisiate e mercato fiorentino

Giampaolo Distefano
Le occasioni del mercato artistico parigino del Trecento e la carriera dell’orafo Jean le Braelier

11h30  Entre l’Italie et la France

Teodoro De Giorgio
La riorganizzazione del sistema fiscale della corte pontificia avignonese sotto Giovanni XXII (1316-1334) e il nuovo volto del mecenatismo artistico papale

Alain Salamagne
L’usage du bois précieux dans le château en France et en Bourgogne (1350-1450)

14h00 Perspectives méditerranéennes

Doron Bauer
Economic Fluctuations and Artistic Production in The Kingdom of Majorca

Francesco Ruvolo
Prima di Antonello. Nuovi culti, spazio sacro e potere economico, nella Messina tra Due e Trecento

15h00  En ouvrant encore les horizons

Étienne Anheim
L’économie du travail artistique au XIVe siècle en France et en Italie

Wim Blockmans
La spécificité du secteur de l’art dans l’économie du bas Moyen Âge
Conclusions

 

CFP: The Economy of Dress and Textiles: Avenues of Trade, Production and Consumption in the Early Modern Period

medieval-textile-images0002Call for Papers: The Economy of Dress and Textiles:  Avenues of Trade, Production and
Consumption in the Early Modern Period
University of Bologna, Dipartimento di Storia Culture e Civiltà, San
Giovanni in Monte, Bologna, Italy, September 15, 2016
Deadline: Apr 30, 2016

The cloth and textile market is of central importance to the late
medieval and early modern economy. Trade routes, centres of production
and patterns of consumption were determining factors that stimulated
the influx of luxury cloth and textiles into established fashion and
textile markets, while second-hand garments developed their own
trajectory. Being sold at auctions and dealer shops, they sometimes
enjoyed a second life and were often refashioned. The entire cost
related to the fashioning of a garment, which comprised the purchase of
raw materials and tailoring expenses, is a reflection of the journey
and provenance of the relevant textiles, furs and haberdashery prior to
their shaping and consumption. In turn, the respective markets for both
low-end and high-end goods also played an important role in social and
cultural life, as the cost, display and representations of dress
emphasised the wealth and social and political status of the wearer.
The conference aims to generate a discussion about the economy of dress
and textiles in relation to the connection between trade, production,
consumption and the cost and status of low-end and high-end goods in
the late medieval and early modern periods.

PhD students and early career researchers are invited to speak about
the economy of dress and textiles from a variety of perspectives in
order to build a more complete picture of their journey both literal
and figurative from raw materials to fully fledged garments that
sometimes get refashioned.

Submission: potential speakers are invited to submit as a
single document: (1) a 300-word paper abstract, which should include
the main question of the research project, (2) a paper title, (3) a
brief curriculum vitae, (4) institutional affiliations and (5) contact
information to the Dressing the Early Modern Network at
info@dressingtheearlymodern.com

Each speaker will be allotted twenty minutes. The deadline for
submissions is 30 April 2016. Notification of the outcome will be
advised by e-mail on or before 15 May 2016.

Please note that funding is not provided for this event, so
participants will be required to fund and arrange their own travel and
accommodations.

Call for papers: Artists, Avarice and Ambition in Europe, 1300 -1600 (AAH Annual Conference 2015)

Diana Scultori (Mantovana) (1547–1612)

Diana Scultori (Mantovana) (1547–1612)

This is a call for presenters in a panel at the Association of Art Historians annual conference, which is taking place at the University of East Anglia, Norwich 9th – 11th April 2015.

Artists, Avarice and Ambition in Europe, 1300 -1600

Co-convenors: Jill Harrison, Open University
jill.harrison@open.ac.uk

Vicky Ley, Open University
v.v.ley@open.ac.uk

 In Trecento Italy Giotto di Bondone was working on major commissions in Florence whilst buying property and conducting complex business transactions in the rural Mugello. Michelangelo, as recently published documents show, also accumulated wealth from a variety of sources in addition to his art. In sixteenth century Northern Europe Dürer exemplified the spirit of commercial enterprise by employing agents to sell his engravings and find new markets for his works all over the Netherlands. Less commonly women artists made economic contributions to family workshops. The commercial astuteness of the engraver and printmaker Diana Scultori, who held a Papal Privilege allowing her to sign and market her work, is a notable example. Artists were ambitious and money mattered. The economic interaction between artists, patrons, institutions and ideologies in Europe 1300 -1600 is the focus of ongoing critical study, including recent exhibitions exploring the influence of bankers, merchants and international trade on art and artists. This session encourages a multidisciplinary approach to debate the idea of the artist as businessman or woman. It will consider the ways in which artists were developing and exploiting networks of wealthy patrons and producing works which engaged with changing and often controversial economic discourse.

Papers will be welcomed which explore any of these issues. There is also the chance the proceedingss will be published.

Abstracts should be no longer than 250 words, and should be sent to the session organizers along with a short CV (max 2 pages) and a biographical note and sent by November 10th 2014.

Call For Papers: Art’s Productive Economies, Toronto

Call For Papers: Art’s Productive Economies
University of Toronto, March 20, 2014
Deadline: Jan 1, 2014

2014 Wollesen Memorial Graduate Symposium, a one-day graduate symposium hosted by the Graduate Union of Students of Art, University of Toronto.

paularego460Given the multivalent definitions “work” denotes (including, but not limited to: the product of labour; action involving effort directed toward a definite end; and the operation of a force in producing physical change), it is possible to understand the work of art – and noless, the art of work – through a wide range of critical perspectives. Whether in the process of making art, the products of art, and / or the overarching labour networks in which art exists, how can one think of work and art together in ways that do not unduly privilege one term over the other? How should one situate art as work within both creative and economic labour markets? And how – if at all – can one conceive work as art in light of the conditions those markets entail?
That is, how does work negotiate the material dimensions of labour, production, and capital vis-à-vis the aesthetic dimensions of practice, process, and products? Indeed, such questions only begin to scratch the surface of this relation that lays at the heart of aesthetic  production. To these questions, we invite proposals for scholarly  papers spanning all relevant fields and time periods that touch upon the relation between art and work within the aesthetic, social,
political, and cultural economies that encompass these terms.

Sample topics include, but are not limited to:
– Representations of work and/or workers throughout visual culture.
– The physical labour of artmaking processes and practices
– Distributions of labour within artist studios (e.g. those of
Rembrandt, Warhol, etc.)
– Disjunctions and correlations between conceptual and material labour
in artmaking and/or art institutions
– The practice of art history / curating / etc. as forms of “the work
of art”
– The aesthetic consequences of immaterial labour / post-Fordism /
economic globalization / etc.
– The unseen labour practices that support art institutions (e.g.
museum employees, art handlers, interns, etc.)
– The figure of the artist as worker
– The functional “work” of art objects.

Current graduate students may submit an abstract of 200-300 words (outlining 15-20 minute presentations) and a brief CV to gustasymposium@gmail.com by January 1, 2014.

Please see gustasymposium.wordpress.com for more information.