Tag Archives: Italian

Job: Assistant Professor of Early Modern Art in Italy, Dartmouth College, starting July 1, 2018

1024px-dartmouth_college_shield-svgJob: Assistant Professor of Early Modern Art in Italy, Dartmouth College, starting July 1, 2018
Deadline: 30 November 2017

The Department of Art History at Dartmouth College invites applications for a scholar of early modern art in Italy (c. 1400 – 1700) for a tenure-track position at the rank of Assistant Professor. We are especially interested in candidates who situate early modern Italy within broader European and global contexts, such as cultural exchanges with the Americas, North Africa, the Eastern Mediterranean, and/or Asia. We seek a scholar-teacher who is committed to innovative research and undergraduate education. In addition to specialized courses, the successful candidate will also participate in our general survey sequence, our foreign study program in Rome, and our advanced seminar in Art Historical Theories and Methods. A PhD in Art History or a related field is required at the point of hire (July 1, 2018).

The Art History Department has eight and one-half tenure line faculty and regularly sponsors post-doctoral fellows. While the number of majors is small, our courses enjoy strong enrollments from a broad constituency of students and we have a strong record of placing students in top PhD programs and related professional fields. Many of our courses are cross-listed with other programs such as Women’s, Gender, and Sexuality Studies; Latin American, Latinx, and Caribbean Studies, Middle Eastern Studies; Asian Societies, Cultures and Languages; and Comparative Literature. Current Art History faculty members participate in a variety of campus research and pedagogical initiatives such as digital humanities and experiential learning.  We welcome applicants interested in forging research and curricular links with other campus units.

Students at Dartmouth College are diverse by many measures. We particularly seek applicants with an interest in teaching and mentoring of students from all backgrounds (including first-generation college students, low-income students, racial and ethnic minorities, women, LGBTQ, etc.). We are especially interested in candidates who will contribute to Dartmouth’s diversity initiatives that focus on undergraduate research. Notably, four recent Art History majors have been awarded the Mellon Mays Undergraduate Fellowship.

To apply, please provide a letter of application, curriculum vitae, three letters of recommendation, evidence of teaching experience, a dissertation abstract, and a chapter of the dissertation or a published article. All materials should be submitted through Interfolio apply.interfolio.com/44946 .

Application review will begin December 1, 2017 and continue until the position is filled. Preliminary interviews will take place at the CAA conference in February 2018 and by Skype for those unable to attend the conference. Inquiries can be directed to Samantha S. B. Potter, Department of Art History, 6033 Carpenter Hall, Dartmouth College, Hanover NH, 03755-3570.  email: Samantha.SB.Potter@Dartmouth.edu

 

CFP – PISTOIA CAPITALE ITALIANA DELLA CULTURA 2017

In occasione di PISTOIA CAPITALE ITALIANA DELLA CULTURA 2017, il Gruppo di Ricerca NUME ha ottenuto la concessione dal Comune di Pistoia per l’organizzazione di una sessione di conferenze (con data da definirsi) che abbiano per oggetto la Pistoia medievale.

pistoia

Pistoia fu già a partire dal V secolo sede vescovile, e vide avvicendarsi numerosi popoli conquistatori, tra Goti, Bizantini, Longobardi, Franchi. Da libero comune nel 1105 alla dominazione fiorentina e lucchese, secondo Villani proprio a Pistoia nacque la lotta tra guelfi e ghibellini. La sua storia e le sue testimonianze materiali sono l’oggetto della nostra indagine.

1. I temi accettati possono spaziare dalla pittura, all’architettura, all’urbanistica, alla storia medievale di Pistoia. Particolare attenzione sarà data ai contributi che affrontino il culto di San Jacopo, patrono della città, e di cui si conserva lo splendido Altare argenteo (1287-1456) nella cattedrale di San Zeno. Il tema può essere affrontato sotto molteplici sfaccettature, dalla questione iconografica a quella storica, dalla dimensione sociale e politica ai rapporti con le grandi vie di pellegrinaggio;

2. Si ricercano massimo n. 5 relatori;

3. Ogni intervento dovrà avere durata massima di 30 minuti;

4. Per partecipare, si prega di inviare un abstract di 300 parole, corredato di un CV, all’indirizzo di posta elettronica: info@nuovomedioevo.it

5. Il termine ultimo per l’invio di una proposta è il 10 MAGGIO 2017;

6. Entro il 15 MAGGIO sarà comunicato l’esito della valutazione. Il giudizio del Gruppo NUME è insindacabile;

7. Il Gruppo NUME si riserva l’utilizzo futuro (previa comunicazione all’autore) del materiale che gli perviene, in pubblicazioni cartacee o sul web.

Maggiori informazioni sul progetto PISTOIA CAPITALE ITALIANA DELLA CULTURA 2017 all’indirizzo web:

http://www.pistoia17.it/it/

CONF: Journeys of the Soul: Multiple Topographies in the Camposanto of Pisa (Pisa, 1–2 September 2016)

Conference: Journeys of the Soul: Multiple Topographies in the Camposanto of Pisa

Pisa, Scuola Normale Superiore
September 1-2 2016
Palazzo della Carovana, piazza dei Cavalieri 7, Sala Azzurra

Organizers: Michele Bacci (Université de Fribourg), David Ganz
(Universität Zürich), Rahel Meier (Kunsthistorisches Institut Florenz)

The construction of the Camposanto in Pisa, begun in the late 1270s, resulted in an innovative type of monumental cemetery. Generously dimensioned and surrounded by a prestigious shell of white marble, the new cemetery of the cathedral complemented both the dome and baptistery as a third monument of equal ranking. Placed directly beside one of the city gates, the cemetery complex constituted an astonishing Portal of the powerful seaport. Great artistic expenditure was continued on the inside: the high walls of the four wings were decorated with frescoes of heretofore unknown dimensions, thus creating one of the most impressive painted spaces of the Late Middle Ages. The Camposanto provided the municipal audiences with a place of burial which eclipsed that of the popular mendicant church cemeteries.

The aim of the conference is to illuminate the Camposanto venture as an innovative interaction between the two artistic mediums of architecture and mural painting and the funerary utilization of the space. The guiding concept of “Journey” allows us to consider perceptions of burial as an entry into an otherworldly Journey, as well as journeys to holy and otherworldly places, which are invoked in the iconographic program of the frescoes. Following this concept, the conference will focus on a long Pisan tradition of spatial interweaving of locations within the Mediterranean Region –  in particular the holy sites of Palestine – which were diversely linked to Pisa through overseas trade, by military participation in the crusades and through its position as starting point and place of passage for pilgrimages.

Recent research projects have emphatically illuminated a widely circulating practice of “site-relics” and “site-transfer” in the medieval West. Pilgrim’s ampoules with lamp oil and stones from the holy sites were media for the creation of composite places which superimposed the local topography and the Terra Sancta sites of memory. Transfer processes and the adoption of foreign locations were already abundant in the older constructions of the cathedral area in Pisa: the Dome itself was built on the occasion of the victory over the Saracens ruling in Sicily and to commemorate the seminal myth of the second Rome. The baptistery begun in the 11th Century cited the forms of the Anastasis in Jerusalem.

The project of the Camposanto can be understood as a further development of this topographic memory. In this context, the narratives about the sacred earth, which was allegedly spread throughout Camposanto, played a central role. The notion that sacred earth could be spread in a cemetery can be understood as an innovative advancement of older models of site transfer. Source evidence suggest that these legends were greatly enriched over the centuries, although they already circulated in nuce at the time the cemetery was founded. These stories also motivated the innovative designation of a cemetery as „campus sanctus“. It is a key purpose of the conference to consider the interplay between the sacred substance of earth, the fictive spaces within the murals and the burial practices within the cemetery.

Program:
Thursday, September 1
09:00    Greetings
09.10    Introduction by Michele Bacci (Fribourg) and David Ganz (Zurich)

PANEL I – THE CAMPOSANTO: ARCHITECTURAL AND PICTORIAL TOPOGRAPHIES
CHAIR: DAVID GANZ
09:30    Neta Bodner (Jerusalem): A Reading of the Camposanto’s Role among the Monuments of the ‘Piazza’
10:30    Margherita Orsero (Lausanne): La parete dipinta sulla piazza: sequenze, strati pittorici, incongruenze
11:30    Coffee break
12:00    Lorenzo Carletti (Pisa) and Francesca Polacci (Siena): Senza cornice: lo spazio dell’arte negli affreschi del Camposanto tra ricezione e storia materiale
13:00    Lunch break
14:30 Visit to the Camposanto (Carlo Giantomassi/Donatella Zari)

PANEL II – SACRED EARTH. THE TERRA SANCTA-LEGEND
CHAIR: MICHELE BACCI
16:00    Rahel Meier (Florence): Between Flesh and Blood. The Early Construction History of the Camposanto in Pisa and its Relation to the so-called Terra Santa Legend
17:00    Coffee break
17:30    David Ganz (Zurich): Sacred Earth, Panoramatic Spaces. The Early Fresco Decoration of the Campo Santo

Friday, September 2
PANEL III – THE JOURNEY AFTER DEATH
CHAIR: RAHEL MEIER
10:00    Friederike Wille (Berlin): “Mirandoti intorno”: Visual evidences in Campus sanctus
11:00     Coffee break
11:30     Alessandra Malquori (Florence): L’immagine della morte e l’edificazione attraverso l’immagine nelle Storie degli anacoreti del Camposanto di Pisa
12:30    Lunch break
14:00    Visit to the Laboratorio di Campaldo (Carlo Giantomassi/Donatella Zari)
16:00    Roundtable discussion with Michele Bacci (Fribourg), Ottavio Banti (Pisa), Antonio Caleca (Pisa), Chiara Frugoni (Pisa), David Ganz (Zurich), and Mauro Ronzani (Pisa)
17:00    Coffee break
17:30    Conclusion by Michele Bacci
18.00    End of Conference

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.

Conference: Miracoli ‘di carta’ e miracoli dipinti: testi e immagini del prodigioso in Italia tra XIV e XVIII secolo (9 April 2015)

Istituto Sangalli, Piazza San Firenze, 3
April 9, 2015

Miracoli ‘di carta’ e miracoli dipinti: testi e immagini del prodigioso in Italia tra XIV e XVIII secolo

Seminario interdisciplinare di studi

Presiede SOFIA BOESCH GAJANO
(Università di Roma Tre)

10:30
MAURIZIO SANGALLI (Istituto Sangalli)
Vent’anni dopo. A mo’ d’introduzione

11:00
MARCO FAINI (University of Cambridge)
Miracoli quotidiani: libri di orazioni, fogli volanti e stampe

11:30
ALESSIA LIROSI (Università “La Sapienza”)
Icone sacre e Chiesa militante: miracoli nella Roma
della Controriforma

12.00
LUCIO BIASIORI (Villa I Tatti, Harvard University Center for Italian
Renaissance Studies)
“Ha fatto molti diversi et evidenti miracoli”: la lunga vita del
bambino di Babilonia (1319-1793)

12:30 Discussione

13:30 Pranzo
Presiede GIULIO SODANO
(Seconda Università degli Studi di Napoli)

15.00
IRENE GALANDRA COOPER (University of Cambridge)
Oggetti di pietà domestica nella Napoli del Cinquecento

15:30
ALESSIA MENEGHIN (University of Cambridge)
I miracoli cinquecenteschi della Beata Vergine Maria della Chiesa del
Soccorso di Rovigo

16.00
LAURA FENELLI (Istituto Sangalli)
Ricostruire la topografia devozionale di un’immagine miracolosa
nell’Europa post-tridentina: il caso di san Domenico di Soriano

16:30 Discussione

17:30 Conclusione dei lavori