Tag Archives: Gothic

CFP: L’architecture gothique. Entre réception et invention. Impact, continuité et réinterprétation (XIIe – XXe siècle), Centre André Chastel, Paris, 10 March 2018

e4172ce752979324efadeeb13ae35d66-viollet-le-duc-game-propsCall for Papers: L’architecture gothique. Entre réception et invention. Impact, continuité et réinterprétation (XIIe – XXe siècle), Centre André Chastel, Paris, 10 March 2018
Deadline: 15 November 2017
L’une des définitions les plus correctes du terme « gothique » est celle qui interprète ce phénomène architectural non comme l’expression d’une période historique mais comme un système structurel, défini en Ile-de-France à partir du milieu du XIIe siècle. Les connaissances techniques déjà expérimentées à l’époque romane sont alors intégrées dans une relation consciente entre structures portantes et structures portées, en obtenant de nouveaux effets esthétiques et symboliques.

Entre la fin du XIIe et le XIIIe siècle, l’architecture gothique se développe en Europe, particulièrement en Angleterre, Allemagne, Espagne, Italie, Hongrie et Bohème et entre en contact avec les traditions constructives locales, notamment grâce à l’activité des ordres monastiques. La synthèse entre la réception de modèles existants et l’invention de nouvelles expressions artistiques donne naissance à des œuvres neuves créées dans des contextes historiques, géographiques et socio-culturels différents par rapport au contexte français.

En Italie, par exemple, la leçon du gothique français, transmise principalement par les cisterciens, est ensuite assimilée par les ordres mendiants et, en Italie méridionale, par Frédéric II et finalement par les Angevins. Cependant, le gothique italien ne développe pas l’audace structurelle qui fut, en France, à l’origine d’un formidable élan vertical des parois et de l’effet de lux continua. Cette différence est à la fois due à la persistance de techniques constructives traditionnelles dans la filiation de l’architecture paléochrétienne et à l’impossibilité d’appliquer la technique de l’arc-boutant dans une zone fortement sismique.

Au même titre, en France, entre le début du XVe et le milieu du XVIe siècle, l’art gothique flamboyant se mêle à la tradition de la Renaissance importée d’Italie : si l’ossature des églises reste « gothique » même lorsque les formes ornementales assimilent des caractères à l’antique, l’originale rationalité structurelle est en grande partie perdue. La persistance des formes flamboyantes dans l’architecture de la Renaissance française est un phénomène intéressant qui révèle l’importance et l’influence de la tradition gothique.

Plus tardivement et à titre d’exemple, au XIXe siècle le phénomène des revivals historicistes atteste la reprise du langage gothique en Europe. Une telle tendance s’imposa d’abord en Grande-Bretagne puis se diffusa dans d’autres pays européens, parallèlement à l’intense activité de restauration des monuments médiévaux : en France c’est surtout Eugène Viollet-le-Duc qui en souligna la rationalité constructive. Le néogothique, devenu désormais partie intégrante de l’éclectisme historiciste, constitue une source fondamentale pour l’art nouveau jusqu’au début du XXe siècle.

La journée sera par conséquent consacrée à une réflexion sur la réception de l’architecture gothique comme langage flexible, à même de créer de nouvelles formes artistiques : l’objectif est de conduire l’historien de l’art et de l’architecture à enquêter sur la portée et l’influence de ce phénomène dans des contextes différents de celui d’origine. La journée vise ainsi à élargir l’analyse aux questions historiques, politiques, culturelles et urbaines, en fonction des objectifs des commanditaires et en établissant des liens entre aspects structurels, fonctionnels et formels. La journée doctorale sera l’occasion de partager les réflexions méthodologiques, les problématiques et les résultats des recherches en histoire de l’architecture de doctorants et jeunes docteurs de formations et de pays divers.

La série de thématiques suivante est destinée à suggérer des domaines et directions de recherche et n’a que valeur indicative :
– Techniques et matériaux de l’Architecture gothique : innovations structurelles, continuité et rupture avec le passé
– Cathédrale gothique et différentes formes locales en France
– Gothique français et sa diffusion en Europe
– Gothique flamboyant et Renaissance : dialectique entre survivances structurelles et décor « à l’antique »
– Réception du Gothique après le Gothique : survivance et renouveau néogothique
– L’architecture gothique, sa restauration ou sa réutilisation contemporaine
– L’architecture gothique intégrée dans les autres formes de l’art visuels (peinture, gravure, sculpture), sémantique visuelle et revival.

La journée donnera la priorité aux interventions des doctorants et jeunes docteurs. Elle se déroulera le 10 mars 2018 au Centre André Chastel (INHA, 2, rue Vivienne, 75002 Paris).

How to apply:  Les propositions de communication (300 mots maximum), en français ou en anglais, accompagnées d’un bref curriculum vitae (2 pages maximum), sont à envoyer, le 15/11/2017 au plus tard, à Camilla Ceccotti et Emanuele Gallotta aux adresses suivantes :
camilla.ceccotti@uniroma1.it
emanuele.gallotta@uniroma1.it

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Conference: Obra congrua: Girona Cathedral, 1416-2016, University of Girona, October 19-21, 2016

800px-361_catedral_de_girona2c_rosasses_de_la_nau_vora_l27absisConference: Obra congrua: Girona Cathedral, 1416-2016, University of Girona, October 19-21, 2016

Programme:

Wednesday 19 October 2016
09:00h  Opening of the symposium. Institutional introductions.
09:30h  Opening lecture: La nave de la Catedral de Girona y la cultura del gótico meridional. Pere Freixas.
10:30h  Presentation of the Thematic Network: DOCOGOTHIC Network for documentation of late Gothic architecture Hispanic. Ana López Mozo, Francisco Pinto y Patricia Ferreira.
11:00h  Coffee break.
SESSION I. Consultations and expertises to the Gothic architectural Europe
11:30h  “Deposar de la continuació de dita obra”.  Una relectura de la consulta de Girona (1416). Joan Domenge y Marc Sureda.
12:15h  Les expertises d’architectes dans les cathédrales françaises vers 1500. Florian Meunier.
13:00h  Communications.
13:40h  Debate.
14:00h  Lunch.
15:30h  Parieri e perizie per il Duomo di Milano nel XV secolo. Marco Nobile y Isabella Balestrieri.
16:15h  Communications.
17:00h  Coffee break.
17:30h  Communications.
18:30h  Debate.
18:45h  End of session.
19:15h  Reception at Ajuntament de Girona.
Thursday 20 October  2016
SESSION II. The professional profile master builder.
09:00h  Mestres d’obra catalans convocats a la consulta de 1416. Marià Carbonell.
09:45h  Pere Sacoma, el gran maestro de obras en la Girona del siglo XIV. Miquel Àngel Chamorro.
10:30h  Coffee break.
11:00h  Communications.
11:45h  Inter se disputando. Debate y proyecto arquitectónico en la Edad Media. Javier Ibañez y Arturo Zaragozá.
12:30h  Communications.
13:30h  Debate.
14:00h  Lunch.
SESSION III. Trace and Gothic architecture project.
15:30h  Soporte, escala y proyección en la traza gótica. José Calvo.
16:15h  “Fer e pintar un patró de l’obra”. Algunas consideraciones sobre las trazas en la arquitectura gótica catalana.  Antonio Conejo.
17:00h  Coffee break.
17:30h  Communications.
18:15h  Catedrales dibujadas: reflexiones en torno al dibujo arquitectónico gótico en Castilla. Begoña Alonso.
19:15h  Debate.
19:45h  End of session.
Friday 21 October 2016
SESSION IV. Techniques and Gothic construction processes.
09:00h  Contenido técnico del debate de las actas. Santiago Huerta.
09:45h  La piedra de Girona. Màrius Vendrell i Pere Roca.
10:30h  Coffee break.
11:00h  Construcción de bóvedas. José Carlos Palacios.
11:45h  Communications.
12:30h  Las escaleras de caracol tardogóticas en el ámbito mediterráneo: diseño y construcción. Alberto Sanjurjo.
13:30h  Debate.
14:00h  Lunch.
15:30h  Visit to the Cathedral of Girona. Joan Molina.
17:00h  Closing.

CFP: Light and Darkness in Medieval Art, 1200–1450, ICMS, Kalamazoo, May 2017

Call for Papers: Light and Darkness in Medieval Art, 1200–1450 (I–II)

International Congress on Medieval Studies, Kalamazoo, 11-14 May 2017

Sponsored by the International Center of Medieval Art

(Convenors: Stefania Gerevini and Tom Nickson)

Separation of Light and Dark, Sarajevo HaggadahLight has occupied an increasingly prominent role in medieval studies in recent years. Its perceptual and epistemic significance in the period 1200-1450 has been scrutinized in several specialised research projects, and the changing ways in which light and light-effects are rendered and produced in the arts of the Middle Ages, particularly in Byzantium and Islam, are routinely evoked in literature. However, scholarship on these topics remains fragmented, especially for the Gothic period, and comparative approaches are seldom attempted. New technologies of virtual reconstruction and changing fashions of museum display make it an opportune moment to consider these issues in a more systematic manner.

These two sessions will investigate how perceptions of light and darkness informed the ways in which art across Europe and the Mediterranean was produced, viewed and understood in the period 1200–1450. In the late 12th century a key set of optical writings was translated from Arabic into Latin, providing new theoretical paradigms for addressing questions of physical sight and illumination across Europe. At this time theologies of light also gained renewed popularity in the eastern Mediterranean – particularly as a result of the Hesychast controversy in Byzantium, and in connection with Sufi notions of divine illumination in Islam. What correlations can be traced between theories of optics, theologies of light, practices of illumination, and modes of viewing in the Middle Ages? Are there similarities in the ways different religious or cultural communities conceptualised light and used it in everyday life or ritual settings?

These sessions invite specialists of Christian, Islamic and Jewish art and culture to explore the status of light in broader discourses around visuality, visibility and materiality; the interconnections between conceptualizations of light and coeval attitudes towards objectivity and naturalism; and the ways in which light can articulate political, social or divine authority and hierarchies. The session will also welcome papers that address such broad methodological questions as: can the investigation of light in art prompt reconsideration of well established periodizations and interpretative paradigms of art history? How was the dramatic interplay between light and obscurity exploited in the secular and religious architecture of Europe and the medieval Mediterranean in order to organise space, direct viewers and convey meaning? How carefully were light effects taken into account in the display of images and portable objects, and how does consideration of luminosity, shadow and darkness hone our understanding of the agency of medieval objects? Finally, to what extent is light’s ephemeral and fleeting nature disguised by changing fashions of display and technologies of reproduction, and – crucially – how do these affect our ability to apprehend and explain medieval approaches to light?

Proposals for 20 min papers should include an abstract (max.250 words) and brief CV. Proposals should be submitted by 16 September 2016 to the session organizers: Stefania Gerevini (stefania.gerevini@unibocconi.it) and Tom Nickson (tom.nickson@courtauld.ac.uk). Thanks to a generous grant from the Kress Foundation, funds may be available to defray travel costs of speakers in ICMA-sponsored sessions up to a maximum of $600 ($1200 for transatlantic travel). If available, the Kress funds are allocated for travel and hotel only. Speakers in ICMA sponsored sessions will be refunded only after the conference, against travel receipts.

Illuminating the Past: A Workshop on the Making and Meaning of Gothic Colour 16th June 2016

clerecia150Eastridge Hospital Canterbury, 16th June 2016

Illuminating the Past is an informal sharing of research.  Included in the day’s activities are a series of exciting talks led by graduates and early career scholars, demonstrations on the making and use of medieval colour, an exhibition including objects from The Beaney and interactive activities.

It’s hard to think of a better setting as the event will take place inside Eastridge Hospital Canterbury, a 12th-c pilgrims’ residence right in the centre of town (with breaks and drinks taking place in the beautiful Greyfriars’ garden).

Please feel free to drop in at any time during the day between 9.30am -5pm without booking. However, attendance for the talks needs to be pre-booked. In order to do this, and to view the talks programme, please visit:

https://www.eventbrite.co.uk/e/illuminating-the-past-a-workshop-on-the-making-meaning-of-gothic-colour-tickets-24988550427?aff=es2

Dr Jayne Wackett, AHRC Cultural Engagement Postdoctoral Research Fellow, University of Kent

 

 

 

 

 

CFP: Modelling Medieval Vaults symposium at the University of Liverpool in London, 14 July 2016.

Chester-capture1-672x372Call for Papers: Modelling Medieval Vaults symposium
University of Liverpool in London, Finsbury Square,  July 14, 2016.
Deadline: 30 April 2016

The use of digital surveying and analysis techniques, such as laser scanning, photogrammetry, 3D reconstructions or reverse engineering offers the opportunity to re-examine historic works of architecture. In the context of medieval vaults, this has enabled new research into three-dimensional design processes, construction methods, structural engineering, building archaeology and relationships between buildings.

Recent research on Continental European and Central American vaults has established the significance of these techniques, however, as yet there has been little exploitation of digital technologies in the context of medieval vaults in the British Isles. This is despite international recognition of the importance of thirteenth and fourteenth-century English vault design to the history of Gothic architecture in an international context.

The aims of the present symposium are to present new research in this emerging field in order to establish appropriate methodologies using digital tools and identify significant questions for future research in the area.

Conference organisers: Dr Alex Buchanan and Dr Nick Webb.

Abstracts (500 words maximum) are invited for 20 minute papers on the following subjects:

  • Representation and analysis of medieval vaults using digital technologies.
  • Investigations of British tierceron, lierne or fan vaults.
  • Digital techniques used for the analysis of historic works of architecture applicable to gothic vaulted buildings.

Submission: Abstracts (500 words maximum) to be addressed to Nick Webb by email.

Our intention is that proceedings will be published in a suitable journal.

Symposium cost: £40 for listeners and £25 for students/speakers.

Fully-funded PhD available in Gothic Art at the University of Kent

870x489_fullsizerender_25The excellent archival and architectural resources at Canterbury Cathedral, the first English Gothic building, combined with our proximity to Paris, the site of origin of Gothic art, provide an ideal research environment for a doctoral project that examines the visual culture and development of the Gothic style. Working with Dr Guerry, who is a specialist in the field of Gothic wall painting, this PhD studentship at the School of History at the University of Kent would enable an outstanding graduate student to pursue research that would contribute substantially to our understanding the invention, diffusion, and function of Gothic art in the High Middle Ages. In the past decade, new approaches to the study of Gothic Art have benefitted tremendously from the advent of scanning technology, which has the potential to reveal the content of lost medieval murals. Because of the vicissitudes of time, wall paintings rarely survive. In the Middle Ages, lavish wall paintings once covered the interior and exterior of churches, halls, houses, castles, and bridges.

This studentship would provide a postgraduate with the opportunity to discover and define the significance of forgotten Gothic wall paintings or another aspect of monumental Gothic art. Under the tutelage of Dr Guerry and with the help of her collaborators, the PhD student would be given access and equipped with all of the necessary tools to achieve groundbreaking fieldwork, ideally on site in Canterbury, Paris, or Angers, where Dr. Guerry has ongoing research projects.

-Ideal candidates will have an MA or MPhil with distinction in History, History of Art, or Architecture

-Proficient language skills in both Latin and French are necessary

Here are the general details:
http://www.jobs.ac.uk/job/AMQ852/phd-scholarship-opportunities/

Further particulars:
http://www.kent.ac.uk/history/postgraduate/funding/scholarships/historyphd.html

Closing date for applications is 31 January 2016

Contact Dr Emily Guerry (E.Guerry@Kent.ac.uk) with any questions