Tag Archives: France

Conference: The Profane within the Sacred in Medieval Art, Aguilar de Campoo, Sept 29th – Oct 1st 2017 (VII Colloquium Ars Mediaevalis)

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Conference: The Profane within the Sacred in Medieval Art, Fundación Santa Maria la Real – Aguilar de Campo (SPAIN), Sept 29th – Oct 1st 2017.

CFP for 20-minute ‘free papers’ open until 30 June 2017
How to apply:
send an email with name, Academic institution, 1 page abstract and main bibliography to plhuerta@santamarialareal.org

How to enrol in the conference: email: plhuerta@santamarialareal.org
Price:
Regular 125 € Reduced 90 € Special (students) 60 €

In his The Elementary Forms of Religious Life, the sociologist Émile Durkheim formulated the idea that the division of the world into two domains is the distinctive feature of religious thought, one containing the sacred and the other all that is profane. Durkheim’s distinction cannot be applied to medieval art, however, in which the mixing of secular motifs in religious objects, images, and architecture was characteristic –at least not without complicating the theoretical notion. The senmurf on the eleventh-century reliquary of St. Matthew in SS. Cosma e Damiano in Rome, the figure copied from Orestes on the ancient Husillos sarcophagus above the altar at Fromista, a fragment of victory killing a barbarian from a consular diptych re-used on a 11th/12th century book cover, and the incorporation of diagrams and motifs from natural science in the “aula gotica” in SS. Quattro Coronati in Rome are among myriad examples that document why this is the case.

In one of the best-known texts related to medieval art, Bernard of Clairvaux railed against the imaginative variety of profane art displayed in twelfth-century Cluniac monasteries, which he considered to be a subversion of the moral order of monastic life. Bernard’s diatribe not only confirms the fact that linking the two realms was common but also raises the question of audience and hence also spatiality. As the anthropologist E. E. Evans-Pritchard postulated, sacredness (and therefore the profane) might be considered as situational, in a chronological as well as in a spatial sense. An object considered sacred in a given period may be considered profane or magical in a different time and/or space; decontextualization and reuse are thus also important issues related to the topic. Profane does not always imply anti-sacred. Indeed, given the fact that profanus means “in front of the consecrated enclosure,” the inclusion of secular elements within sacred domains suggests a dynamic interweaving that extends beyond the mere incorporation of motifs and objects. Sometimes the contacts between the two domains was regulated by rites that provided the conditions within which the relationship was made possible (i.e. consecration); other times, as when natural science was assimilated into the choice and manufacture of materials, the overlapping of sacred and profane underlies the processes of art.

In recent decades, historians have explored the uses of subversive elements in sacred art –from marginalia in illuminated manuscripts to coin-imagery and stamping incorporated in Eucharistic hosts. The conference Ars Mediaevalis 2017 sets out to assess the results of the advances made by the new art historiography and, more important, to open up still-unmapped paths for future study of the profane within the sacred during the Middle Ages.

Programme:

Friday, 29th September
Aguilar de Campoo

09.45h : Colloquium Ars Mediaevalis Opening
Chair: Francesca Español UB

10.00h Michele Bacci, Université de Fribourg – Intrusos en los iconos: perspectivas comparativas sobre los retratos individuales en la iconografia sagrada
10.45h Discussion

11.45h Philippe Cordez, Ludwig-Maximilians-Universität München – Le repentir d’un magicien ? Les camées de la statuette de David à la cathédrale de Bâle (vers 1320)
12.30h Free paper
12.50h Discussion

16.00h Fernado Villansenor, Universidad de Cantabria – Lo profano y sus espacios: discursos marginales en la Castilla tardogótica
16.45h Javier Docampo, Biblioteca Nacional de España – Las representaciones de los trabajos de los meses en libros de horas: la construcción de un imaginario social
17.15 Discussion

17.45 Round table. “Profano: perímetros espaciales, iconicos y semanticos en el arte medieval / Profane: spatial, iconic, and semantic edges in medieval art” Gerardo Boto.

18.45 Public presentation of the new editorial series “Ars Mediaevalis. Estudios de arte medieval”

Saturday, 30th September
Palencia

(Chair: Fernando Gutiérrez Baños UVA)

10.00h Kathrin Müller, Goethe-Universität, Frankfurt am Main Subversive – Devices: Cosmological Diagrams and the Problem of the Sacred
10.45h Free paper
11.05h Discussion

12.00h Beate Fricke, Universität Bern – Representing the Cosmos’ Origins, illuminating cosmological thoughts
12.45h Free paper
13.05h Discussion
16.00h Academic visit: Burgos: Santa María de las Huelgas Reales; Cartuja de Miraflores

Sunday, October 1st
Agilar de Campoo

(Chair: Javier Martínez Aguirre UCM)

09.15h Milagros Guardia, Universitat de Barcelona – Las pinturas murales de Sant Joan de Boi: de como contextualizar la iconografia profana
10.00h Free paper
10.20h Discussion
11.20h Free paper

11.40h Herbert L. Kessler, Johns Hopkins University / Masaryk University – From Vanitas to Veritas: the Profane as a Fifth Mode of Seeing
12.20h Discussion

13.00h Conclusions and perspectives
13.15h Closing ceremony

 

Edinburgh College of Art Trecento seminar, Artist and Authorship (6 May 2016)

Scultore, Firenze, Museo Bardini3 (1)6th May 2016
10:00 – 17:00
Hunter Lecture Theatre, Edinburgh College of Art, 74, Lauriston Place , Edinburgh

Convened by Claudia Bolgia and Luca Palozzi from the School of History of Art

This one-day international research seminar on ‘Artist and Authorship’ is designed to take stock of the field, showcase award-winning, original research and discuss different methodologies, thus charting new avenues for future research. While the research seminar’s main focus of attention is the Italian Trecento, contributions reach well beyond it to investigate different geographical areas – both East and West (Portugal, France, Spain, Byzantium) – across a broader timespan, including contemporary perspectives on the topic.

FREE AND OPEN TO ALL.

BOOK YOUR FREE TICKET(S) HERE. LIMITED CAPACITY

Programme

10.00 – 10.15 Luca Palozzi (Edinburgh College of Art), Introduction

Session 1: Visual Networks and Artistic Flows

Chair: Luca Palozzi (Edinburgh College of Art)

10.15 – 10.40 Emanuele Lugli (University of York), ‘Inventing the Network: Linking Figures and Connecting Knowledge in Trecento Italy’

10.40 – 11.05 Carla Varela Fernandes (Universidade Nova de Lisboa, Portugal), ‘France-Catalonia-Portugal: artistic flows in the Trecento. Some examples from the Digital Index of Magistri Cataloniae’

11.05 – 11.20 Q&A

11.20 – 11.40 Coffee break

Session 2: Authorship and Self-Representation: East and West

Chair: Claudia Bolgia (Edinburgh College of Art)

11.40 – 12.05 Maria Lidova (British Museum, University of Oxford), ‘Manifestations of Authorship: Artists’ Signatures in Byzantium’

12.05 – 12.30 Giampaolo Ermini (Scuola Normale Superiore, Italy), ‘The Opere firmate nell’arte italiana / Medioevo Project : some notes on Sienese metalworkers’ signatures: goldsmiths, locksmiths, bell makers’

12.30 – 12.55 Donal Cooper (University of Cambridge), ‘The Authorship and Audience of the Meditations of the Life of Christ’

12.55 – 13.10 Q&A

13.10 – 14.00 Lunch

Session 3: Self-awareness and Reception

Chair: Claudia Bolgia (Edinburgh College of Art)

14.00 – 14.25 Luca Palozzi (Edinburgh College of Art), ‘Before the Paragone: Trecento Visual Intelligence and the Critical Misfortune of Sculptors’

14.25 – 14.50 Corin Sworn (Artist and Lecturer, Ruskin School of Art, Oxford), ‘The Mobile Screen and the Early Modern Stage: A contemporary artist’s take on borrowing from the past’

14.50 – 15.00 Q&A

15.00 – 15.20 Coffee break

Session 4: Postgraduate Research Showcase, Discussion and Conclusions

Chairs: Claudia Bolgia (Edinburgh College of Art), Robert Gibbs (University of Glasgow), John Richards (University of Glasgow), Luca Palozzi (Edinburgh College of Art)

15.20 – 15.50 Research Showcase with History of Art PhD candidates at the University of Edinburgh

Maria Gordusenko, ‘Magester Ursus and his self-representation in the church of Santi Pietro e Paolo in Ferentillo’
Amelia Hope-Jones, ‘The Elusive Artist: A Thirteenth-Century Tabernacle in the National Gallery of Scotland’
Fabian Bojkovsky, ‘A Jewish Convert as Artist: The Shrine of San Vicente, Sabina and Cristeta at the Intersection between Legend, Historicity and Propaganda’
15.50 – 16.20 Discussion

16.20 Claudia Bolgia (Edinburgh College of Art), Conclusions

For all enquiries, please email: luca.palozzi@ed.ac.uk.

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 review: Microarchitecture and Miniaturized Representation of Buildings (INHA, Paris 8-10 Dec 2014)

Search for “microarchitecture conference” on Google, and you will mostly be returned results concerning gatherings of computer programmers. This would doubtless make the concept of a conference on medieval microarchitecture entertaining to many. Even ignoring this parallel nomenclature, the sort of microarchitecture art historians are interested in is not an easy concept to explain, and perhaps one of the primary goals of the conference held at the Institut Nationale d’Historie d’Art in Paris was to actually work out what we had all come together for. I doubt wasn’t the only one who wondered whether my own material actually qualified.

Professor Timmermann with his pocket cathedral

Professor Timmermann with his pocket cathedral

Achim Timmermann (University of Michigan), a man who could indeed be dubbed “Mr. Microarchitecture”, gave an exciting overview of the concept in Early, High and Late Middle Ages, so epic in its scope of fantastic structures that the screen ought to have expanded into Imax proportions. His account demonstrated how microarchitecture transformed from the idea of a “pocket cathedral” into such an isolated ontological sphere that it crossed into convolute monstrosity with its self-mimesis by the late fifteenth century. An alternative and quite staggeringly rich oration, based on his new book Gothic Wonder, was given by Paul Binski among the medieval statuary in the ancient Roman baths of the Museé de Cluny. For Paul, the medieval intellectual aesthetic condensed great and small, magnificent and minificent, into an idea characterised by a single playfulness of embellishing surface with ornament. A more formal account, jointly delivered by Javier ibàñez Fernandez (Universidad de Zaragozza) and Arturo Zaragozá Catalán (Universidad de Valencia), introduced a 7-part taxonomy of microarchitecture in Spain: from functional maquettes to decorative miniaturisation of large-scale forms.

Sebastian Fitzner and some extraordinary medieval tile ovens

Sebastian Fitzner and some extraordinary medieval tile ovens

In this framework of ideas of categorisation, many new genres of object were introduced to the conference room. The present writer, of course, had packed a selection of sedilia, which by now I am certain always prove novel to continental audiences. But we also had stone tile ovens like traceried office blocks from Sebastian Fitzner (LudwigMaximilians-Universität München), Orthodox chivots for Eucharist reservation that mimic the forms of their parent building from Anita Paolicchi (Università di Pisa) and Renaissance elevation drawings that were originally intended to be folded and constructed into paper models from Giovanni Santucci (Università di Pisa).
These models are sort of things we would love to have more evidence for in the Middle Ages to explain the transmission of ideas, but alas, even presentation drawings and plans are difficult to come by. The miniaturisation of large forms into the decorative or representational was covered in papers by Sabine Berger (Sorbonne) on votive churches in the hands of donor statues and Peter Kurmann (ETH, Zurich) on relationship of tabernacle canopies to the geometry and form of great chevets.

Matthew Sillence with cardinals' seals

Matthew Sillence with cardinals’ seals

P1940231

Final panel with Alexander Collins, Julian Gardner (chair), Sophie Cloart-Pawlak and Sarah Guérin

There was also consideration of the desirability of microarchitecture and its meaning beyond the artists’ play with novel forms. Matt Ethan Kalaver’s (University of Toronto) account of the earliest transmission of classical forms into the Netherlands by the high nobility on their tombs was reflected in the earlier centuries considered by Julian Gardner (University of Warwick) and Matthew Sillence (University of East Anglia). Their papers both focused on how influential medieval prelates and cardinals were for spreading new forms on their seals, which, quite thankfully, was a big part of my paper where also bishops seem the first to stick pointy gables over sedilia in chantry chapels they have endowed.
Perhaps one drawback about the novelty of much of the material is that it is only in retrospect to draw many of these parallels across sessions. One panel however that held together very well that at the end of the final day, between Sophie Cloart-Pawlak (IRHiS, Lille), Alexander Collins (University of Edinburgh) and Sarah Guérin (University of Montréal) who all explored the function and symbolism of microarchitecture on the spectator.
This was my first international conference, and it was a highly convivial experience with high-quality papers throughout. There was a healthy mix of postgraduates, early career researchers, established scholars and some legendary old hands. It is planned that the proceedings will be published, and therefore it should provide a much-needed general framework for the minificent microcosm of the fiddliest bits of the decorative arts.

The international conference Micro-architecture et figures du bâti au Moyen-Âge: l’échelle à l’épreuve de la matière was at the Institut Nationale d’Historie d’Art from the 8-10 Dec 2015. Here is our original post of the call for papers, the full programme and the INHA’s official page.

We also had a bit of fun tweeting the conference because we’re so Web 3.0.

Book roundup: New art history books from Brepols

Here are some new medieval art history books on manuscripts, architecture and sculpture from publisher Brepols that we have been alerted to, and we think will prove very exciting to a number of our readers.

HMSAH_75_3DKing’s College Chapel 1515-2015: Music, Art and Religion in Cambridge, edited by J. M. Massing, N. Zeeman

This lavishly illustrated, interdisciplinary volume encompasses many aspects of the Chapel’s history from its foundation to the present day. The essays all represent new research, with a particular emphasis on areas that have not been investigated before: Chapel furnishings and art; the architectural engineering of the building and current state of the glass; the history of the Choir and the life of the Chapel, not least in recent centuries. Essays will engage with politics, drama, music, iconoclasm and aesthetics. This will be a serious academic book, but also a visually stimulating and beautiful one. It will contain two hundred and fifty colour reproductions of images of the Chapel – prints, watercolours, oil paintings, photographs, architectural drawings, plans, maps and even postcards, reflecting the many and varied responses that the Chapel has elicited over time.

HMSAH_59 Jean Pucelle: Innovation and Collaboration in Manuscript Painting, edited by K. Pyun, A. Russakoff
This book focuses on the works and legacy of Jean Pucelle, a French 14th-century artist.
Jean Pucelle (fl. ca. 1319-d. 1334) was one of the most prominent artists of the first half of the fourteenth century, an influential illuminator who worked closely with a number of collaborators both known and anonymous. A large number of lavishly-illuminated manuscripts have been attributed to him based on stylistic analysis.

Scholarly essays in this book explore issues crucial to the establishment of his distinctinve style: originality, technique, color palette, influence, levels of resemblance, the relationships between artistic media, and patronage. The contributors to this volume analyze the major works associated with Pucelle or the Pucellian style, and interpret pictorial elements in the tradition of artistic collaboration. This is the first collective work devoted entirely to Jean Pucelle and his legacy.

With contributions by Barbara Drake Boehm, Pascale Charron, Marc Gil, Joan A. Holladay, Marguerite A. Keane, Mie Kuroiwa, Domenic Leo, Kyunghee Pyun, Anna D. Russakoff and Roger S. Wieck.

097728-RogierVanDerWeydenstofwikkel.inddRogier Van der Weyden and Stone Sculpture in Brussels by B. Fransen
The activities of Rogier van der Weyden (1399/1400-1464) were much wider in scope than the well-known painted oeuvre that has been the subject of so many publications. This book, with its focus on stone sculpture in Brussels at the time that Rogier was established there, an area of art history that to date has been little explored, offers a fresh and fascinating look at the context in which Brussels’s famous city painter operated. Bart Fransen leads you through a network of stoneworkers and craftsmen, from the stone quarry to the sculptor’s workshop, to discover a number of remarkable but unknown or misjudged sculptures now in churches, an abbey, a béguinage, a museum’s reserve collection and a castle chapel. With the various case studies in mind he goes on to examine Rogier van der Weyden’s direct involvement in sculptural projects, turning to the evidence revealed by archival documents, drawings and sculpture itself. The result is a highly readable and plentifully illustrated book that re-establishes the close relationship between the various art forms that existed in the fifteenth century.

MEF_07The Making of Hispano-Flemish Style: Art, Commerce, and Politics in Fifteenth-Century Castile by R. Kasl
This book examines the phenomenon of “Hispano-Flemish” style in fifteenth-century Castile, providing an account of its most important monuments and describing the ways in which it is embedded in specific social and cultural settings. Trade, diplomacy, and immigration account for the widespread presence of art and artists from northern Europe in Castile during the period and these mechanisms of international contact and exchange are the starting point for this inquiry. Chapter one details commercial relations between Castile and the art-producing centers of northern Europe, stressing the dominant role of merchants from Burgos and documenting the prevalence of imported luxuries like tapestries, paintings, and sculpture. The presence of imported artworks in Castile was paralleled by a similarly robust number of immigrant artists, some itinerant and others attached to permanent workshops. Their influence is discussed in chapter two, with emphasis on the establishment of multi-generational family workshops under the direction of immigrant masters. Such workshops rooted foreign styles on Castilian soil and decisively influenced the ways in which visual conventions were learned, transformed, and transferred. The receptivity of patrons to the visual qualities of the imported style is analyzed in relation to its capacity to assert emerging social, political, and spiritual values.

The adoption of northern forms in Castile, first detected in the sculptural decoration of funerary chapels of the mid-1430s, was sustained for the rest of the century, culminating in the completion of the monastery of Miraflores under the patronage of Isabel of Castile. Chapter three outlines the religious, commemorative, and political motives that informed the foundation of the monastery by Juan II and those that animated his daughter’s efforts to complete it. It establishes the chronology of works in relation to historical events and details the intervention of Juan and Simón de Colonia, Gil de Siloe, Juan de Flandes, and others. The reelaboration of Siloe’s northern European sculptural idiom at Miraflores was a distinctive process, stimulated by the demands of his royal patron, conditioned by the practices of a heterogeneous workshop, and obliged to visualize a new concept of royal sovereignty.

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Postdoctoral Fellowship: Fernand Braudel – IFER Fellowship (France)

Postdoctoral Fellowship:
Fernand Braudel – IFER Fellowship ((International Fellowships for Experienced Researchers)
Programme supported by the European Commission (Marie Curie Action Programme – COFUND – FP7)
Deadline: 30 September 2014

fbThe Foundation Maison des sciences de l’homme and the partners of the programme offer postdoctoral fellowships in the humanities and social sciences for a period of nine months.

Note: This is the last call of this Fernand Braudel-IFER Fellowship Programme

This programme is open to applicants from all countries, belonging to a foreign research centre, who wish to undertake a research residency in France. These post-doctoral research stays are designed to enable researchers to carry out a research project in a host laboratory, integrate scientific networks in France and other European countries and build lasting partnerships between their home institution and the host institution. Applicant’s projects should match the areas of research of these institutions.

All social and human sciences are eligible. An interdisciplinary approach to research topics is encouraged. Candidates can apply to general fellowships and specific fellowships, offered by several research institutions and “Laboratories of excellence” (Labex) who are partners of the programme.

The online application platform is open from 1 September until 30 September 2014. For more information on how to apply, see here.

Call for Papers: Gotische Skulptur um 1300 (Berlin, 7-8 May 2015)

16g_1300[1]

Christ and the Wise Virgins 1280-1300, Strasbourg

See below for a Call for Papers in German and French for a conference in Berlin, May 7 – 08, 2015. Papers can be French, German or English.
Deadline: Jun 8, 2014.

Gotische Skulptur um 1300 in Frankreich und Deutschland
Tagung der Staatlichen Museen zu Berlin im Bode-Museum

Die in den Jahrzehnten um 1300 in Frankreich und den angrenzenden
Territorien des Deutschen Reichs entstandene, deutlich von
wechselseitigen Bezügen geprägte gotische Skulptur wurde lange
kontrovers diskutiert. Ziel der meisten Debatten war die Erstellung
einer Chronologie der wichtigsten Objekte – ein Bestreben, dem aber
allein schon dadurch Grenzen gesetzt waren, dass nur erstaunlich wenige
Ensembles oder Einzelwerke datiert bzw. Auftraggebern und Bildhauern
sicher zugeschrieben werden können. Daher dominierten stilkritische
Zuschreibungen nolens volens das Feld. Sie waren nicht nur Grundlage
eines instabilen, gleichwohl allgemein akzeptierten Entwicklungsmodells
gotischer Skulptur dies- und jenseits des Rheins, sondern bestimmten
auch Überlegungen zu Themen wie Werkstattmigration, Kunst- und
Materialtransfer, zur Wahrnehmung der Objekte oder politischen Intention
von Kopien prominenter Bildwerke. In jüngster Zeit sind die Diskussionen
wieder lebhafter geworden. Denn neuere bauarchäologische und
dendrochronologische Untersuchungen haben überraschende Zeitstellungen
gebracht, und Revisionen älterer Datierungsvorschläge lassen das  mühsam
aufgerichtete chronologische Gerüst kippen.

Die Frage nach den Folgen für die angerissenen Themenkomplexe ist Anlass
der geplanten Tagung. Es sollen keine neuen Chronologiemodelle
aufgestellt, sondern in erster Linie aktuelle Forschungsergebnisse von
Kunsthistorikern, Bauforschern und Restauratoren gebündelt und somit
neue Perspektiven für den gesamten Forschungsbereich gefunden werden.
Eine wichtige Rolle sollen auch neuere restauratorische Untersuchungen
spielen, die sich vermehrt Steinbildwerken widmen. Die gotische
Skulptur, so lauten häufig die Schlussfolgerungen, war viel häufiger und
früher monochrom, als bislang angenommen. Die Interpretation dieser
Befunde in Hinblick auf Bildwirkung und Rezeption steht oft noch aus.

Einen Schwerpunkt der Tagung wird die Diskussion vor den Objekten der in
vielerlei Hinsicht aufschlussreichen Berliner Skulpturensammlung sein,
die in einem im Sommer 2014 erscheinenden Bestandskatalog erstmals seit
1930 wieder zusammenfassend gewürdigt wurden.

Erbeten werden Vorschläge zu Vorträgen à 25 Minuten zu den oben
genannten Themen, sowohl monographische Präsentationen einzelner Objekte
als auch Übersichten zu komplexen Zusammenhängen. Vorträge können in
deutscher, französischer und englischer Sprache gehalten werden.
Angestrebt wird eine Bezuschussung (Reise- und Übernachtungskosten der
Referenten). Eine rasche Publikation (innerhalb eines halben Jahres) ist
geplant.

Vorschläge (max. 2000 Zeichen) richten Sie bitte bis zum 8. Juni 2014
an:

Michael Grandmontagne (medrikat-grandmontagne[at]t-online.de)
Tobias Kunz (t-w-kunz[at]web.de)
La sculpture gothique vers 1300, en France et en Allemagne
Colloque organisé par les Musées de Berlin
Bode-Museum, 7 et 8 mai 2015
Appel à contribution

Depuis plus d’un siècle, le développement conjoint, autour de 1300, de
la sculpture gothique en France et sur les territoires limitrophes de
l’Empire allemand a fait l’objet de controverses notoires. L’objectif
premier de la plupart des chercheurs aura souvent été d’établir une
chronologie des œuvres les plus importantes – effort louable mais qui
fut longtemps limité, peu d’œuvres ou même d’ensembles pouvant être
datés avec certitude, tandis que force noms d’artistes ou de
commanditaires sont tombés dans l’oubli. Bon gré mal gré, le terrain fut
donc occupé par les « connaisseurs », qui fondent leurs jugements sur
des critères stylistiques, une méthode qui présuppose un développement
continu de la sculpture gothique des deux côtés du Rhin, ce qui n’a rien
d’évident. De nombreuses recherches ont également été dédiées à des
thèmes tels que la migration des ateliers, des œuvres ainsi que des
matériaux, jusqu’à la perception des objets ou à la volonté politique de
copier certaines sculptures majeures. Ces dernières années, les
discussions sont devenues particulièrement animées du fait de nombreuses
découvertes, effectuées dans le domaine de l’archéologie du bâti et de
la dendrochronologie, et dont les résultats surprenants démentent
parfois les certitudes les plus établies. De toute évidence, une
révision du cadre chronologique s’impose.

Ce colloque cherche à établir, dans le champ de la sculpture gothique,
les conséquences des changements méthodologiques induits par la
recherche récente. Il ne s’agira aucunement de proposer un nouveau
modèle chronologique, mais avant tout de présenter les recherches
actuelles des historiens de l’art et de l’architecture, ainsi que des
restaurateurs, ce qui devrait permettre de définir de nouvelles
perspectives pour l’ensemble des études dans ce domaine. Une place
importante sera consacrée aux problèmes qui ont récemment émergé à
l’occasion de certaines restaurations, notamment celles concernant la
sculpture sur pierre : la sculpture gothique, nous disent des analyses
récentes, était bien plus monochrome qu’on ne le pensait jusqu’à
présent. L’interprétation de tels résultats, du point de vue de
l’histoire de la réception des œuvres, doit encore être formulée.

La discussion se fondera en grande partie sur les récentes découvertes
ayant émaillé l’étude des œuvres de cette période appartenant aux
collections de sculptures des Musées de Berlin et conservées au
Bode-Museum, anticipant la parution prochaine, à l’été 2014, d’un
nouveau catalogue raisonné de ces sculptures, plus de quatre-vingts ans
après la dernière édition, publiée en 1930.

Les propositions de communication (de 2 000 signes maximum, espaces
compris) devront être envoyées avant le 8 juin 2014 aux adresses
ci-dessous. Les conférences seront d’une durée de 25 minutes et pourront
être prononcées en allemand, en français ou en anglais. Le déplacement
et l’hébergement des intervenants devraient pouvoir être pris en charge,
tandis que les actes de ces journées devraient être publiés avant la fin
de l’année 2015.

Michael Grandmontagne (medrikat-grandmontagne[at]t-online.de)
Tobias Kunz (t-w-kunz[at]web.de)