Tag Archives: florence

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

 

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CFP: New Tendences in research on the Italian Middle Ages and Renaissance

1280px-san_miniato_intarsio_dei_12_segni_zodiacali_06CFP: Neue Tendenzen der Italienforschung Workshop, Kunsthistorisches Institut in Florenz – Max-Planck-Institut, Florence, November 7-9 2016
Deadline: May 31, 2016

Vom 7. bis 9. November 2016 findet am Kunsthistorischen Institut in
Florenz – Max-Planck-Institut der interdisziplinäre Workshop “Neue
Tendenzen der Italienforschung zu Mittelalter und Renaissance” für
Nachwuchswissenschaftlerinnen und Nachwuchswissenschaftler statt. Ziel
des Workshops ist es, die jüngeren Ansätze der Italienforschung in
Geschichte und Kunstgeschichte zusammenzubringen, zu kommentieren,
kritisch zu würdigen und vor allem die Italienforschung in Deutschland
durch den Austausch insgesamt zu stärken. Die Veranstaltung gibt
fortgeschrittenen Doktoranden/Doktorandinnen, Post-Docs und
Habilitanden/Habilitandinnen vor allem aus der Geschichte und
Kunstgeschichte des Mittelalters und der Frühen Neuzeit bis um 1600 die
Gelegenheit, ihre Projekte vorzustellen und diskutieren zu lassen.
Vertreter und Vertreterinnen beider Epochen, beider Disziplinen und
aller anschlussfähigen Nachbardisziplinen sind willkommen.

Der Call for papers richtet sich an Nachwuchswissenschaftler/innen, die
unter anderem zu folgenden Schwerpunktbereichen arbeiten: Raum- und
Stadtgeschichte, Kartographie und Weltbild, Mittelmeergeschichte,
Sakralität und Objekte, Kirchen-, Ordens- und Papstgeschichte,
Schriftlichkeit, Gender Studies, Kunsttheorie und Begriffsgeschichte.

Geplant ist die Einladung von ca. 15 ausgewählten Doktoranden/innen und
Habilitanden/innen, deren Arbeiten wechselweise kommentiert werden.
Dazu sollte eine Kurzform der jeweiligen Präsentationen bis spätestens
zum 30. Oktober eingereicht werden, um schon vor der Tagung
wechselweise gelesen zu werden. Im Workshop selbst steht die Diskussion
im Vordergrund. Die Betreuung erfolgt seitens der Geschichte durch
Prof. Dr. Ingrid Baumgärtner (Universität Kassel) und Prof. Dr. Klaus
Herbers (FAU Erlangen Nürnberg), seitens der Kunstgeschichte durch
Prof. Dr. Tanja Michalsky (BH Rom), Prof. Dr. Alessandro Nova (KHI
Florenz) und Prof. Dr. Gerhard Wolf (KHI Florenz).

Die Kosten für Reise und Unterbringung können anteilig übernommen
werden, wenn eine Finanzierung von anderer Seite nicht möglich ist.

How to submit: Bitte schicken Sie ein einseitiges Abstract für eine 20-25minütige
Präsentation sowie einen kurzen akademischen Lebenslauf auf Deutsch,
Englisch oder Italienisch an ibaum@uni-kassel.de und
klaus.herbers@fau.de.

Bei Rückfragen stehen wir gern zur Verfügung.

Veranstalter: Prof. Dr. Ingrid Baumgärtner (Kassel), Prof. Dr. Klaus
Herbers (Erlangen Nürnberg), Prof. Dr. Tanja Michalsky (Rom), Prof. Dr.
Alessandro Nova (Florenz) und Prof. Dr. Gerhard Wolf (Florenz)

Fellowships: Medici Archive Project Kress Fellowships 1 April-31 December 2016

Florenarchivio-stacksce, Italy, April 1 – December 31, 2016
Application deadline: Feb 15, 2016

The Medici Archive Project (MAP), based at the Archivio di Stato in Florence, Italy, is delighted to announce an award from the Samuel H. Kress Foundation to support four graduate students in the field of art history over the next two years.

Since its foundation in 1993, the Medici Archive Project has grown from a digital humanities foundation into a research institution, all the while remaining a strong advocate of giving scholars direct access to original documents. Through the BIA platform (bia.medici.org), MAP has brought the contents of one of Europe’s most important early modern archival collections, the epistolary archive of the Grand Ducal Medici, to a global audience of students and scholars. Comprising some three million letters, the collection provides an unparalleled insight into the entire early modern world, from the early sixteenth through to the mid eighteenth century. Based upon this wealth of material, much of it unexplored, MAP has developed both an international fellowship of scholars and several research programs (more details can be found at our website: www.medici.org).

Thanks to the continued generous support of Samuel H. Kress Foundation, MAP is offering fellowships for graduate students to join MAP in Florence to undertake specialized archival research on-site at the Archivio di Stato, utilizing the Mediceo del Principato archival collection, as well as other collections housed in Florence and across Italy. The Samuel H. Kress Graduate Art History Fellowships will provide graduate students with the opportunity to examine and study original source materials and to receive scholarly guidance from MAP Staff.

The Fellowships

There are two Samuel H. Kress Graduate Art History Fellowships available for 2016:

A Spring/Summer Fellowship, covering a period of no less than three months, with a stipend of $8,000. The fellowship must take place within the period extending April 1st to July 31st 2016.

A Fall/Winter Fellowship, covering a period of no less than three months, with a stipend of $8,000. This fellowship must take place within the period September 1st to December 31st, 2016.

Eligibility

Candidates must either have American citizenship or be enrolled in graduate programs at universities in the United States. Dissertation topics that treat any aspect of Italian Renaissance or Baroque art history and research related to Medici family collections and patronage, will be given preference.

Details

If feasible, Kress Fellows will be able to enroll, free of charge, on our on-line paleography course before arriving in Florence. Further training in reading documents and using archival sources will be available through our archival studies seminar held at Santa Maria Novella in May/July of 2017, as well as through daily contact with MAP Staff during the course of the Fellows’ tenure. Fellows will be also encouraged to participate in a variety of MAP initiatives, including our upcoming conferences (including “Vasari at Santa Croce”, 4 March 2016 and “Against the Medici: Art and Dissent in Renaissance Italy”, 26 & 27 May 2016) and publications (our series, Medici Studies, with Brepols/Harvey Miller).

To Apply

There is no application form for this fellowship. Instead, suitable candidates are invited to send via email to gallacher@medici.org, the following documents in a collated PDF by 15 February 2016:

1) A cover letter, stating which fellowship is sought, either “Spring/Summer” OR “Fall/Winter” and the proposed dates which the fellow will be in residence.

2) A copy of the candidate’s finalized dissertation proposal, or should the proposal still be a work-in-progress, the date of the proposal defense.

3) A short essay (no more than two pages) on how the candidate’s topic will benefit from archival research.

4) An up-to-date curriculum vitae.

5) The name and email address of a scholar in the field, preferably the candidate’s supervisor, who can comment on the applicant’s qualifications and the merits of the research proposal (please do not include letters of recommendation with the application).

Please do not include supplementary material (publications, papers, syllabi, etc.) not asked for above.

All materials must be submitted in English.

For further information, contact Dr. Samuel M. Gallacher
(gallacher@medici.org)

Medieval Charm: Illuminated Manuscripts for Royal, Aristocratic, and Ecclesiastical Patronage (Florence,

6a00d8341c464853ef017ee99f8105970d-500wiISI Florence, International Studies Institute, Via della Vigna Nuova
18, 50123 Firenze, October 20, 2015

Medieval Charm: Illuminated Manuscripts for Royal, Aristocratic, and
Ecclesiastical Patronage // Fascino medievale: manoscritti miniati per
i sovrani, l’aristocrazia e il clero
International Conference // Convegno Internazionale

Organized by Stefano U.Baldassarri, Francesca Marini, Florence Moly

Among the main goals of this conference at ISI Florence is increasing
knowledge of medieval and Renaissance illuminated books, especially
luxury manuscripts.

As part of investigating issues linked with the iconography, patronage,
collection, production, exchange, and costs of illuminated manuscripts,
the papers will focus on topics such as:
– The making of illuminated manuscripts and the collecting habits of
European courts, including the Visconti-Sforza in Lombardy, Alfonso V
of Aragon, and Charles V of France.
– Luxury books commissioned by either aristocrats or clergy in
Catalonia, and those produced for such important ecclesiastical
institutions as the Opera del Duomo in Florence.
– Iconographic themes that medieval and Renaissance culture considered
crucial to religious ideology, such as Paradise from the Divine Comedy
illustrated by the Sienese Giovanni di Paolo.
– Finally, an evaluation of female patronage of illustrated manuscripts
through examples such as The Book of Hours of Joana of Castile, and the
so-called «Alphabet» of Mary of Burgundy.

The conference will thus adopt a variety of scholarly approaches to
promote a fruitful interdisciplinary exchange stimulating dialogue on
the social and economic background of luxury manuscripts in medieval
and Renaissance Europe.

To this purpose, particular attention will be given to the role played
by the patrons who commissioned such works, their manner of choice for
the artists and the iconographic programs used on the basis of the
specific historic and geographic contexts for the splendid illuminated
manuscripts of the period.

PROGRAM

Tuesday, October 20, 2015 / Martedì, 20 ottobre 2015

9.00
Welcome remarks
Stefano U. Baldassarri (Director, ISI Florence)

9.15
Keynote speech
Giovanna Lazzi (Biblioteca Riccardiana)

Session 1
Chair: Gert Jan van der Sman (Istituto Universitario Olandese)

9.45
Florence Moly (Université du Temps Libre, Perpignan)
La culture des élites: la collection Visconti-Sforza de Pavie et leurs
grands connaisseurs, du chancelier ducal à l’historien moderne

10.15
Gennaro Toscano (Institut National du Patrimoine, Paris)
Una passione per i libri: la committenza di Alfonso V d’Aragona detto
il Magnanimo (1396-1458)

10.45 Coffee break

11.30
Francesca Marini (ISI Florence)
«Larghi d’oro in oro per parte di miniatura»: i costi della miniatura
tra ‘400 e ‘500 a partire da alcuni codici per l’Opera del Duomo di
Firenze

12.00
Discussion

13.00 Lunch break

Session 2
Chair : Sonia Chiodo (Università degli Studi, Firenze)

15.00
Annette Hoffmann (Kunsthistorisches Institut in Florenz)
The Great Feast: Courtiers and Crusaders in Charles V’s «Grandes
Chroniques de France»

15.30
Josefina Planas (Universitat de Lleida)
Manoscritti miniati in Catalogna durante gli ultimi secoli del
Medioevo: promotori, artisti e centri di creazione artistica

16.00
Bette Talvacchia (University of Oklahoma)
Paradise Emblazoned and Embodied in Giovanni di Paolo’s Illumination of
Dante’s «Commedia»

16.30
Eberhard König (Freie Universität, Berlin)
Books for Women Made by Men? The Hours of Juana la Loca in London (Add.
Ms. 18852) and the So-called «Alphabet» of Mary of Burgundy

17.00
Discussion

17.30
Concluding remarks

Partners:
International Studies Institute, Florence
Kunsthistorisches Institut in Florenz – Max-Planck-Institut
Istituto Universitario Olandese di Storia dell’Arte, Firenze
Biblioteca Riccardiana, Firenze
Universitat de Lleida
Crédit Agricole – France

Taking architectural history to the bridge: International Bridges Group inaugural meeting report

The study of architecture largely focuses on the study of buildings: constructions with their most essential function as shelter for the human body. But architectural history can forget that constructions with other functions are also ripe for interpretation of their structure and ideologies. This is what the ambitiously-named International Bridges Group intends to promote for crossings of all kinds, but beginning with a focus upon the medieval. Hence we at MedievalArtResearch.com were invited to their inaugural meeting at Westminster Hall on the banks of the Thames, followed by a day of in-depth (hopefully not literally) investigation of medieval bridges in the Nene and Great Ouse valleys. It as an opportunity to experience the fledgling sub-discipline of gephyrology: a neologism which currently only returns fifty results on Google.

Delegates assembled under the flying buttress of Westminster Hall

As the current writer specialises on ecclesiastical architecture, one thing that emerged in the day in Westminster Hall was how similar working on the English bridge is to studying English parish church. Opening lectures from John Blair and John Chandler established thinking about English bridges is closely linked to unravelling the origins and operation of the English parochial system. Many current bridges can be traced back to the increasing importance of kingdoms in the late eighth century, and the establishment of centres of power. Just like churches, sometimes the opportunity to build a bridge was seized upon by institutions, monastic, parochial or secular to make a powerful architectural statement. Equally, institutions could be less responsible: maintenance neglected and pontage tolls embezzled.

P2060031

David Harrison addresses delegates

Also like English churches, English bridges are uniquely weird and wonderful in equal measure. John P. Allan showed us, via the Exe bridge at Exeter, how independent masons may have been happy to meet in the middle with rounded and pointed arches; while Peter Cross Rudkin showed the English fondness for soffit ribs under the arches, akin to the complicated mouldings of English churches. The rib may have originally had a functional purpose centring the arch before it was built up: especially important for a rounded arch that cannot support itself. But since the ribs are often spaced wider than the length of the stones on top, it would appear that they have assumed the status of a skeuomorph: a decorative form derived from a practical necessity. Having a bridge that had distinctively bridge-like forms was clearly as essential as its structural practicality.

Jana Gajdošová and the tower of the Charles Bridge, Prague

Jana Gajdošová and the tower of the Charles Bridge, Prague

Just as a church spire provided an opportunity to dominate the sky, a bridge provided a powerful opportunity to assert ideology through these unique architectural semiotics. Susan Irvine used Anglo-Saxon literature to consider the bridge as a liminal space: a meeting point between two places. The potential of using this category of space was explored by Jana Gajdošová and Gerrit Jasper Schenk, both presenting papers on bridges rebuilt after disaster. The Gothic Charles Bridge in Prague, with its enormous bridge-tower and scheme of regal architectural sculpture, Jana showed to be a powerful expression of the megalomaniacal ambition of the Holy Roman Emperor. Gerrit compared the rebuilt Ponte Vecchio to the Florentine Bapistery: a pagan monument to Mars reclaimed for John the Baptist, expressed through inscriptions that speak of the enlightened commune of the city.

The final session brought us to how the established concept of a bridge worked in larger societal concepts: Jacopo Turchetto took us to medieval Anatolia, demonstrating how magnificent Ottoman bridges represented much older meeting places of travelling caravans. Roberta Magnusson and David Harrison both gave rich lectures about the bridge in the frameworks of English urban infrastructure and society that proved vital for enlightened conversation on the group’s trip out the Nene and Great Ouse Valleys the next day.

__________________________________________________

Great Barford, Bedfordshire

Great Barford (Bedfordshire), c.1428

After an early Sunday-morning start, the first bridge the delegates encountered was Great Barford in Bedfordshire, dated by a major bequest of 1428. Much of the problem of looking at bridges is that, unlike a building, it faces not just the usual climatic elements, but also heavy traffic, perpetually flowing water, and wandering boats. Therefore it is inevitable that they fail and are rebuilt. Great Barford was also slightly spoiled by the 1874 widening – a common solution to the problem of increasing road traffic in the Modern age – here achieved by building out the bridge on the west side with a brick refacing.

Irthlingborough, Northamptonshire

Irthlingborough (Northamptonshire), 13th or 14th century

Many medieval bridges are isolated from the main traffic flow: Irthlingborough now has a rather precarious-looking 1930s concrete Art-Deco bypass running alongside it. But in the Middle Ages it was a main road: therefore it was an inevitable structure unlike the grand statement at Great Barford, and probably with much earlier origins. Ditchford, on the other hand, had no such modern rerouting and was very much in use, with signal lights controlling the two-way traffic not used to a group of architectural historians examining its structure (see featured image). This bridge, made largely of attractively-tinged ironstone, was funded by the two parishes of which it lay on the boundary line: charmingly expressed on the central cutwater by the symbols of churches’ dedicatees, St Peter and St Catherine.

Huntingdon, Huntingdonshire

Huntingdon to Godmanchester bridge, corbel table, c.1300-20

Two major urban bridges finished the trip. The very handsome bridge over the Great Ouse outside Huntingdon, called ‘lately built’ in 1322, reveals at close inspection its English eccentricities: different mouldings, designs and widths for every arch. It has the most attractive feature of a trefoil-arched corbel table, very much confirming the early-fourteenth-century date, which may have marked the place of a bridge chapel. Very few of these survived the Reformation: Wakefield, Rotherham, Bradford-upon-Avon and St Ives being the exception. However, we found the chapel over the Great Ouse locked, but had plenty to admire in the St Ives bridge itself: built in the 1420s at the behest of some generous Benedictines.

St Ives, Huntingdonshire

St Ives bridge and chapel, 1420s

While very rich and informative, this meeting established only mere stepping stones to the establishment of gephyrology as an active discipline. If you are a budding gephyrologist, especially of the medieval period (or at least, initially, hanging around with a bunch of medievalists) and would be interested in attending future meetings of this research group, then email Jana Gajdošová with your name, institutional affiliation and a brief description of your studies.

For the full resumé of pictures of the day (including cheeky opportunistic solo church visits) see the Flickr set.

CFP: Imaging the Public Square (Florence, 22-24 October 2015)

Call for Papers:
Imaging the Public Square. International conference within the framework of the „Piazza and Monumento“ project at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut
Florence, 22 – 24 October 2015
Deadline: 15 January 2015

St_Bernardino_preaching_in_the_Campo.Sano_di_Pietro
Recent broadcasts of scenes playing out in Egypt, Turkey and Ukraine have reinforced our awareness of the significance of the public square as a venue of action and assembly. As a consequence of protest movements, but also independently of them, images circulated in various media have participated in the construction of a visual culture of the public square. Each of these images should be historicised and analysed according to its own logic. The conference, organized by the collaborators of the “Piazza e Monumento” project at the Kunsthistorisches Institut in Florenz – Max Planck Institut, will take the image and imagination of the square as a point of departure for a discussion, ideally through comparative analysis, of the following themes:

I THE PUBLIC SQUARE IN ARCHITECTURAL DRAWINGS AND THE PLANNING PROCESS:
The square is often the result of a pictorial concept in the architectural planning process, whether it results in entirely new venues or the partial alteration of older ones. Carl Linfert has provided a methodological model for this kind of research in his investigation of tactile responses to the architectural drawing. Regarding the depiction of the public square in architectural designs, the question likewise arises: how do approaches to representation shape the image of the square, and how do they relate to structural, formal-aesthetic, legal, and urban-spatial conditions and possibilities? The built city and the designed city are mutually dependent entities. The degree to which architectural designs are capable of intervening in the existing structure of a city is thus worthy of consideration. In other words, to what extent do such plans and drawings develop a dynamic of their own, above and beyond the function assigned them, leading in the long term to changes in the existing built environment?

II ARTISTIC REPRESENTATIONS OF THE CITY SQUARE: The square is often the main feature of a picture, situated in a larger spatial context, and it can be regarded as an embodiment of the city – regardless of whether we are looking at prints of the Early Modern era of the Meidan in Isfahan, built by Shah Abbas I, Menzel’s painting of the Piazza della Erbe in Verona, or photos of Tahir Square in Egypt in the 1950s. Since images of squares vary historically and culturally, but also respond to one another and are subject to processes of change, images of piazzas should also be analysed as pictorial solutions. What perspectives on the public square, and thus on the city and the territory, are developed pictorially? What artistic media are employed in the process, and who are the makers and recipients of these pictures?

III SCHOLARLY RESEARCH ON THE SQUARE AND THE CITY: Images of squares find their way into many publications, whether as illustrations, elements in a visual argument, or the focal points of research itself. From Renaissance architectural theory and pre-modern engravings to modern architectural and urban anthologies, images of squares are important players on theoretical and methodological levels. What is the significance of these images in architectural and urban studies – including from a history of science perspective – and what social, political and cultural conceptions of society are linked to them?

IV THE MEDIATISATION OF THE SQUARE: The public square is the subject of popular media in various forms, ranging from film, literature and comics to (often anonymous) newspaper, television, and cell phone images. To discuss the square’s mediatisation is thus also to consider the rapid blending of media reality with social and political reality, and to take the pictorial history of the square into account. How much do pictures tell us about the square when protestors climb onto monuments with fluttering flags, as in Kiev? Does this form part of the visual history of liberty, whose canon includes works such as Delacroix’s ‘Liberty Leading the People’, and which can be examined against the background of studies such as Jutta Held’s ‘Monument und Volk’? What impact does the mediatisation of the square have on the ephemerality of certain elements (platforms, public artworks, protest signs, etc.) that temporarily re-design and semanticise the square? And what is the relationship between the visual focus on the square and the construction and transformation of squares? In other words, what effect do experiences of the square from near and far have on not only its perception, but also on its material-physical constitution?

The conference is intended for art historians as well as representatives of neighbouring disciplines. It welcomes case studies and synthetic reflections on the above-suggested themes, which can be treated individually or together, as well as on other topics. Papers should not exceed 25 minutes. Please send your proposal (max. 300 words) and a short CV in German, English or Italian to Dr Brigitte Sölch (soelch@khi.fi.it) and Dr Stephanie Hanke (hanke@khi.fi.it) by 15 January 2015.

Doctoral Workshop: “Neue Tendenzen der Italienforschung zu Mittelalter und Renaissance” (Florence, 13-15 November 2014)

Doctoral Workshop: 
Neue Tendenzen der Italienforschung zu Mittelalter und Renaissance
Florence, Kunsthistorisches Institut – Max-Planck-Institut
13-15 November 2014

unter Leitung von Prof. Dr. Ingrid Baumgärtner (Kassel), Prof. Dr. Klaus Herbers
(Erlangen-Nürnberg), Prof. Dr. Alessandro Nova (Florenz/Frankfurt am Main) und Prof. Dr. Gerhard Wolf (Florenz/Berlin).

Giotto-CrucifixionVom 13. bis 15. November 2014 findet am Kunsthistorischen Institut (Max-Planck-Institut) in Florenz der interdisziplinäre und internationale Workshop „Neue Tendenzen der Italienforschung zu Mittelalter und Renaissance“ für Nachwuchswissenschaftler_innen statt. Unter Leitung von vier im Bereich der Italienforschung ausgewiesenen Expert_innen sowie zwei eingeladenen Keynote-Speakers präsentieren fortgeschrittene Doktorand_innen und Post-Docs ihre Projekte aus der Geschichte des Mittelalters und der Frühen Neuzeit sowie aus der mittelalterlichen und frühneuzeitlichen Kunstgeschichte. Zur Diskussion stehen dabei sowohl inhaltliche Fragen als auch die theoretische und methodische Ebene. Zentrales Anliegen des Workshops ist es, die jüngeren Ansätze der Italienforschung in Geschichte und Kunstgeschichte zusammenzubringen, zu kommentieren, kritisch zu würdigen und vor allem dieses Themenfeld in Deutschland durch den Austausch der Forschenden zu stärken. 

Die Schwerpunktbereiche der Tagung sind in insgesamt vier Sektionen gebündelt. Thematische Ausrichtungen wie Kunsttheorie und Begriffsgeschichte, Kirchen- und Herrschaftsgeschichte, Raum- und Stadtgeschichte oder Formen von Sakralität und Objekten stehen mit verschiedenen Zeitschnitten in Korrelation, also dem Hoch- und Spätmittelalter, der Renaissance und der Gegenreformation. Ausgewählte Keynote-Speakers rahmen die Beiträge der Referent_innen ein; sie bieten Anregungen für übergreifende Einordnungen und stehen für die Diskussionen der unterschiedlichen Arbeitsschwerpunkte zur Verfügung. Die Veranstaltung richtet sich an Nachwuchswissenschaftler_innen beider Epochen, beider Disziplinen sowie aller anschlussfähigen Nachbardisziplinen. 

Programm

Donnerstag 13. November 2014

14.30 Alessandro Nova und Gerhard Wolf: Begrüßung
Ingrid Baumgärtner und Klaus Herbers: Einführung

I. Text und Bild im Mittelalter
Diskussionsleitung: Gerhard Wolf (Florenz/Berlin)

14.50 Diana Nitzschke (Erlangen-Nürnberg): Frühchristliche Bodenmosaiken in Sakralbauten im Westen des Römischen Reichs unter besonderer Berücksichtigung Italiens

15.30 Armin Bergmeier (München): Vergrabene Reliquiare und göttliche Visionen. Unsichtbare Bilder im Frühmittelalter

16.40 Larissa Düchting (Erlangen-Nürnberg): Heiligkeit in Süditalien im frühen Mittelalter

17.20 Anselm Rau (Frankfurt am Main): Emotion und Bildgenese. Zur Affektsteuerung im Lignum vitae vor dem Hintergrund der monastischen Meditationskultur

18.30 Keynote-Sprecherin Daniela Bohde (Frankfurt am Main/Marburg): Maria Magdalena am Kreuzesfuß oder: Plädoyer für eine Ikonographie des Ortes

Freitag 14.11. 2014

II. Kirche, Frömmigkeit und Herrschaft im hohen und späten Mittelalter
Diskussionsleitung: Klaus Herbers (Erlangen-Nürnberg)

09.20 Katrin Getschmann (Tübingen): Mönche und Kanoniker im Streit: Ein
Mailänder Konflikt in der ersten Hälfte des zwölften Jahrhunderts

10.00 Viktoria Trenkle (Erlangen-Nürnberg): Expertise und Ehre: Kardinäle im hohen Mittelalter

10.40 Giuseppe Cusa (Frankfurt am Main): Die Laiengeschichtsschreibung in der Mark Verona-Treviso während des politischen Wandels von der Kommune zur Signorie

11.50 Mona Alina Kirsch (Heidelberg): Der Handel in Sizilien von der Machtergreifung Karls I. von Anjou 1266 bis zur Re-Affirmation der aragonesischen Herrschaft im Jahr 1396

12.30 Katharina Weiger (Berlin): Kunst im Königreich Neapel und Giotto: Kreuzigungsikonographie zwischen Tradition und Innovation

III. Signorie, Hofkultur und Gemeinschaft
Diskussionsleitung: Ingrid Baumgärtner (Kassel)

14.30 Vera-Simone Schulz (Berlin): Globale und lokale Nahtstellen zwischen den Künsten. Textile Ästhetik in der Toskana und in Florenz

15.10 Claudia Jentzsch (Berlin): Ordnung und Gemeinschaft. Die Ästhetik der Florentiner Augustinerkirche Santo Spirito

15.50 Gerda Brunnlechner (Hagen): Die ‚Genueser Weltkarte‘ von 1457 – Alternativen und Wandlungen von Raumdarstellungen in der Kartographie des 15. Jahrhunderts

17.00 Andreas Hermann Fischer (Kopenhagen/München): Aufschlag für Alfonso: Tennis im rinascimentalen Ferrara und die Spielkultur(en) des italienischen Cinquecento

17.40 Mauro Spina (Turin): Rapporti figurativi tra Germania del sud e Italia settentrionale nel primo Cinquecento

18.30 Keynote-Sprecherin Petra Schulte (Köln/Frankfurt am Main): Ungleichheit in den italienischen Städten des Hoch- und Spätmittelalters

Samstag 15.11.2014

IV. Religiosität und Affekt – Von der Renaissance bis ins Zeitalter der Gegenreformation
Diskussionsleitung: Alessandro Nova (Florenz/Frankfurt am Main)

9.00 Katharine Stahlbuhk (Hamburg): Der Einsatz von monochromer Monumentalmalerei innerhalb der Kirchenreformen nach dem Großen Schisma und der Observantenbewegung

9.40 Angela Tietze (Bochum): Tiefste Trauer und Angemessenheit – Affektmodellierungen in der bildenden Kunst der Frühen Neuzeit (1450-1750)

10.20 Maurice Saß (Hamburg): „Come cane e gatto” – Affektive Tierblicke als Momente künstlerischer Selbstvergewisserung

11.30 Filine Wagner (Zürich): „Pittore delicatissimo e molto vago“. Die Bedeutung Bernardino Luinis in der Lombardei der Gegenreformation

12.10 Steffen Zierholz (Bern): Räume des Selbst. Kunst und Spiritualität in der Gesellschaft Jesu (1580-1700)

12.50 Schlussdiskussion

See also http://www.khi.fi.it