Tag Archives: Painting

CFP: From Prints to Paintings in Fifteenth-Century Northern Italy, Renaissance Society of America Conference

an00453037_001_lCall for Papers: Renaissance Society of America Conference, Chicago, March 30 – April 1,
2017
Deadline: May 20, 2016

This session considers the impact of prints on fifteenth-century
Northern Italian painting. Topics may include, but are not limited to:

·      The use of prints as substitutes for workshop drawings
·      The transmission of Northern European visual culture via prints
·      The role of prints in the regional dissemination of artistic
ideas
·      The appropriation of specific motifs
·      Prints as sources of inspiration or points of departure

How to submit: By May 20, please send your paper title, abstract (150-word maximum),
keywords, and a brief curriculum vitae (300-word maximum) to: Daniel
Wallace Maze (danielwallacemaze@gmail.com).

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Book Roundup: Late Medieval Painting

Here are some great new books on 14th and 15th century painting.

Any suggestions from the other end of the Middle Ages (or anything in-between)? 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!

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Zuleika Murat, Guariento. Pittore di corte, maestro del naturale (Silvana Editoriale)

Guariento di Arpo (1310 c.- 1367-1370) was the leading painter of Padua under the Carrara. He worked extensively for the most prestigious patrons of his time, including members of

the Carrara family, two Doges of Venice, the Augustinian friars and the Dominicans, being commissioned both of frescoes and of panel paintings. Despite the great value he was granted during his life-time, and the attention that scholars have paid to his works more recently, the real nature of his production still struggles to emerge. This is due, in part, to the partial destruction of his most important paintings, such as imposing frescoes and huge altarpieces; but also to the nature of his style — in-between Italian naturalism and Gothic elegance — that has sometimes disorientated scholars.

This book aims to reconsider Guariento’s activity and place in the wider context of Trecento Padua. Through a new examination of his paintings, a new interpretation of the requirements of the patrons, as well as of the wider historical background, this book provides a new perspective on Guariento and of the entire context where he lived and worked. Special attention is paid to matters neglected thus far, such as the relationship

between the painter and the scientists who worked on astrology, optics and perspectiva at the University of Padua, the Studium, who might have suggested him how to represent a believable fictive space in painting; the decoration of the golden leaf and of the pastiglia; the typologies and functions of panel paintings. His works are also interpreted as factors of visual propaganda, and their complex iconography is here connected to the specific needs of the patrons. The paintings are presented through a rich photographic documentation and -when totally or partially destroyed- with virtual reconstruction done on a solid philological base.

9780300220131Matthijs Ilsink and Jos Koldeweij, Hieronymus Bosch: Visions of Genius (Yale University Press)
Hieronymus Bosch (c. 1450-1516) lived and worked in ‘s-Hertogenbosch, the Netherlands, where he created enigmatic paintings and drawings full of bizarre creatures, phantasmagoric monsters, and terrifying nightmares. He also depicted detailed landscapes and found inspiration in fundamental moral concepts: seduction, sin, and judgment. This beautiful book accompanies a major exhibition on Bosch’s work in his native city, and will feature important new research on his 25 known paintings and 20 drawings. The book, divided into six sections, covers the entirety of the artist’s career. It discusses in detail Bosch’s Pilgrimage of Life, Bosch and the Life of Christ, his role as a draughtsman, his depictions of saints, and his visualization of Judgment Day and the hereafter, among other topics, and is handsomely illustrated by new photography undertaken by the Bosch Research and Conservation Project Team.
97803002201551Luuk Hoogstede, Ron Spronk, Matthijs Ilsink, Jos Koldeweij, Robert G. Erdmann, Rik Klein Gotink, Hanneke Nap, Daan Veldhuizen, Hieronymus Bosch, Painter and Draughtsman Technical Studies (Yale University Press)
Scholars have traditionally focused on the subjects and meanings of Hieronymus Bosch’s works, whereas issues of painting technique, workshop participation, and condition of extant pictures have received considerably less attention. Since 2010, the Bosch Research and Conservation Project has been studying these works using modern methods. The team has documented Bosch’s extant paintings with infrared reflectography and ultra high-resolution digital macro photography, both in infrared and visible light. Together with microscopic study of the paintings, this has enabled the team to write extensive and critical research reports describing the techniques and condition of the works, published in this extraordinary volume for the first time.

dis-9781909400092-1Susan Urbach, Early Netherlandish Painting in Budapest: Volume I and II (Brepols Publishers)

This is the first volume of a series of scholarly catalogues on Flemish paintings from the Szépművészeti Múzeum in Budapest. Written by Dr Susan Urbach – emeritus curator of the museum and renowned scholar of Northern Renaissance Art – with the assistance of curator Ágota Varga and picture-conservator András Fáy, the catalogue includes extensive entries and bibliographical references on 49 works dating from c. 1460 to c. 1540. The volume covers about a third of the entire collection of Flemish Painting from the 15th century through to the 17th and includes the latest results of scholarly research and technical analysis.

rpouswnqC. C. Wilson, Examining Giovanni Bellini: An Art ‘More Human and More Divine’ (Brepols Publishers)

This book presents a collection of fifteen essays on the Venetian painter Giovanni Bellini, one of the most innovative and influential artists of the Italian Renaissance. Long renowned for his embrace of oil technique, astute mastery of perspective, and development of landscape painting, Bellini has been admired across the ages as well for the profoundly human and deeply reverent character of his works. Aspects of Bellini’s world, his oeuvre, and his legacy are examined here through a diversity of approaches, many interdisciplinary and supported by the bibliographies of theoretical writings and of specialized fields rarely or not previously brought to bear on the pictures discussed. Topics represented include the study of medicine and healing plants, plant and animal symbolism, portraiture, liturgy, antique sources, material culture and market practices, textual analysis, and collecting and reception.

 

 

 

Call for Papers: Andrew Ladis Trecento Conference (Tulane University, New Orleans, Nov 10-13 2016)

 

12439326_194880027531864_6327083374226155989_n[1]In the spirit of the tradition forged by the late Andrew Ladis and his colleagues at the University of Georgia, an international congress of Trecento specialists will congregate at Tulane University to share their research formally and informally in New Orleans, LA.

This call for papers invites scholars of all ages and stages to submit proposals for 20-minute discussions of specific art historical problems, issues, and ideas that focus on the arts of Italy during “the long fourteenth century” (late Dugento through early Quattrocento). MA students must provide a letter of support from a professor with whom they have taken a graduate level course.

Please submit paper proposal (500-word limit), and a CV by February 20, 2016 to: LadisTrecentoConference@gmail.com

The keynote speaker at the Tulane conference will be Marvin Trachtenberg, Edith Kitzmiller Professor of the History of Fine Arts at the Institute of Fine Arts, New York University.

Thanks to the generous support of the Kress Foundation and other benefactors, we will not be charging any registration fees for this conference. Participants will be responsible for securing their own transportation and lodgings.
More information, including options for lodgings, will be posted soon on Facebook (https://www.facebook.com/LadisTrecentoConference/) as well as on a Tulane website.
Conference registration will be on Eventbrite beginning May 1

This will be the inaugural Andrew Ladis Memorial Trecento Conference and we are very excited! The plan is for the conference to be held every other year, with a new venue and host institution each time. The 2nd conference will be hosted by the University of Houston in Houston, TX, in fall 2018.

Book Roundup: Summer 2015

9780300209891[1]Postcards on Parchment The Social Lives of Medieval Books by Kathryn M. Rudy (Yale University Press)

Medieval prayer books held not only the devotions and meditations of Christianity, but also housed, slipped between pages, sundry notes, reminders, and ephemera, such as pilgrims’ badges, sworn oaths, and small painted images. Many of these last items have been classified as manuscript illumination, but Kathryn M. Rudy argues that these pictures should be called, instead, parchment paintings, similar to postcards. In a delightful study identifying this group of images for the first time, Rudy delineates how these objects functioned apart from the books in which they were kept. Whereas manuscript illuminations were designed to provide a visual narrative to accompany a book’s text, parchment paintings offered a kind of autonomous currency for exchange between individuals—people who longed for saturated color in a gray world of wood, stone, and earth. These small, colorful pictures offered a brilliant reprieve, and Rudy shows how these intriguing and previously unfamiliar images were traded and cherished, shedding light into the everyday life and relationships of those in the medieval Low Countries.

Kathryn M. Rudy is senior lecturer in the School of Art at the University of St. Andrews

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6b5bf994aa[1]Rogier van der Weyden and the Iberian kingdoms (Prado)

Rogier van der Weyden y los reinos peninsulares (Rogier van der Weyden and the Iberian kingdoms) accompanies the recent show at The Prado in Madrid, and consists of two texts by the exhibition curator Lorne Campbell, who is hailed as the leading specialist on the master of Tournai: Vida y obra de Rogier van der Weyden (Life and oeuvre of Rogier van der Weyden) and Rogier van der Weyden y los reinos ibéricos (Rogier van der Weyden and the Iberian kingdoms), which will introduce readers to the artist and his relationship with Spain. It also features a text by Carmen García-Frías, curator of painting at Patrimonio Nacional, entitled La recuperación de una obra maestra: el Calvario del monasterio del Escorial de Rogier van der Weyden (The restoration of a masterpiece: Rogier van der Weyden’s Calvary in the Monastery of El Escorial).

It also includes catalogue entries for the works on show written by Lorne Campbell, José Juan Pérez Preciado, Pilar Silva and Stephan Kemperdick.

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1430902501[1]La Picardie flamboyante: Arts et reconstruction entre 1450 et 1550 edited by Étienne Hamon, Dominique Paris-Poulain et Julie Aycard (Presses Universitaires de Rennes)

At the turn of the Middle Ages and the Renaissance, Picardy experienced a tremendous economic and artistic revival. This book offers new insights into the institutions, artists, sponsors, infrastructures and works of art that were players and products of the long-lived “Flamboyant” Style.

Philippe Racinet et Julie Colaye La reconstruction économique en Picardie (1450-1550) L’exemple du prieuré de Bray-sur-Aunette au diocèse de Senlis

Juliette Maquet Une seigneurie picarde au sortir de la guerre de Cent Ans Boves, 1453-1454

Christophe Cloquier Le cours de la Somme Une voie fluviale privilégiée au cœur de la Picardie flamboyante, entre 1450 et 1550

Jean-Christophe Dumain Laon au lendemain de la guerre de Cent Ans L’apport des archives comptables pour l’étude d’une reconstruction (1450-1500)

Mathieu Beghin Regards croisés sur deux chantiers urbains de la Picardie flamboyante Amiens et Arras (vers 1500-vers 1550)

Emmanuel de Crouy-Chanel Tours de la Haye, de Guyancourt et du Kay Les « grosses tours » de la ville d’Amiens (1476-1490)

Karine Berthier Les aménagements de la porte Montrescu à Amiens à la fin du xve siècle et au début du xvie siècle

Mathieu Deldicque Quelques jalons dans l’étude du mécénat des grands commanditaires picards, de Louis XI à Louis XII

Dominique Paris-Poulain Renouveler le décor monumental à l’époque flamboyante L’église Saint-Léger de Lucheux et le mécénat de Marie de Luxembourg

Florian Meunier De Beauvais à Montdidier, l’itinéraire flamboyant de Scipion Bernard

Camille Serchuk À la limite La vie et la carrière de Zacharie de Celers

Julie Aycard Destruction et reconstruction des églises de l’ancien diocèse de Senlis (1460-1515) Mythe et réalité

Jacques Dubois Les grands travaux de restauration de Saint-Samson de Clermont-de-l’Oise

Étienne Hamon Le dessin et l’architecte au soir de l’âge gothique Le projet de portail du fonds de l’hôtel-Dieu d’Amiens

Marie-Domitille Porcheron Flamboyance de l’architecture dans les Puys de Picardie Fonds de tableaux, haut-relief, cadres, menuiseries

Kristiane Lemé-Hébuterne Construction et ornementation des stalles en Picardie à la fin du xve et au début du xvie siècle Continuité ou innovation

Alexandra Gérard et Jennifer Vatelot Les retables en bois sculpté polychromé du xvie siècle de l’Oise Étude et restauration des exemples du Vaumain et de Labosse

Françoise Lernout La Vierge en prière du musée de Picardie, une iconographie singulière?

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Fallen Idols, Risen Saints: Sainte Foy of Conques and the Revival of Monumental Sculpture in Medieval Art by Beate Fricke (Brepols)

dIS-9782503541181-1[1]This book presents an analysis and contextualization of the revival of monumental sculpture in medieval art, and outlines the history of image culture, visuality and fiction.

This book investigates the origins and transformations of medieval image culture and its reflections in theology, hagiography, historiography and art. It deals with a remarkable phenomenon: the fact that, after a period of 500 years of absence, the tenth century sees a revival of monumental sculpture in the Latin West. Since the end of Antiquity and the “pagan” use of free-standing, life-size sculptures in public and private ritual, Christians were obedient to the Second Commandment forbidding the making and use of graven images. Contrary to the West, in Byzantium, such a revival never occurred: only relief sculpture – mostly integrated within an architectural context – was used. However, Eastern theologians are the authors of highly fascinating and outstanding original theoretical reflections about the nature and efficacy of images. How can this difference be explained? Why do we find the most fascinating theoretical concepts of images in a culture that sticks to two-dimensional icons often venerated as cult-images that are copied and repeated, but only randomly varied? And why does a groundbreaking change in the culture of images – the “revival” of monumental sculpture – happen in a context that provides more restrained theoretical reflections upon images in their immediate theological, liturgical and artistic contexts? These are some of the questions that this book seeks to answer.The analysis and contextualization of the revival of monumental sculpture includes reflections on liturgy, architecture, materiality of minor arts and reliquaries, medieval theories of perception, and gift exchange and its impact upon practices of image veneration, aesthetics and political participation. Drawing on the historical investigation of specific objects and texts between the ninth and the eleventh century, the book outlines an occidental history of image culture, visuality and fiction, claiming that only images possess modes of visualizing what in the discourse of medieval theology can never be addressed and revealed.

As usual please do send any suggestions for books to feature in this most irregular feature to medievalartresearch@gmail.com – don’t be shy!

Rogier van der Weyden prize 2014

Rogier_van_der_Weyden_-_The_Magdalene_Reading_-_WGA25721[1]The international non-profit scientific association, Roger de le Pasture / Rogier van der Weyden hereby calls for nominations for the biennial “Roger de le Pasture / Rogier Van der Weyden Prize” to be awarded at the end of 2014.

This year the prize will reward two Master’s Theses related to the history of figurative arts in the Southern Netherlands during the Burgundian period (late 14th – early 16th centuries). The first place will be awarded one thousand five hundred euros (1500 €) and the second place will be awarded one thousand euros (1000 €).

The works should be written in Dutch, English, French, German, Italian or Spanish, and must have been defended during the academic years of 2013 or 2014. Candidates will include with their application: a summary of their work as well as the jury results and a recommendation letter from their advisor.
The thesis should be submitted in two copies and should reach the Association before Friday October 3, 2014, proof of postage, and should be sent by regular mail to Mr. Serge HUSTACHE, President of the International scientific association Roger de le Pasture / Rogier van der Weyden, Cité Georges Point, rue Paul Pastur, 4, B-7500 Tournai, Belgium. Candidates must include their e-mail address with the package for e-mail confirmation of receipt. Copies will not be returned. They will be given to the Association’s collection in the Tournai City Library and, for ten years, they may only be consulted with author’s permission.
The Board of Directors of the Association is competent for any and all problems relating to the prize or for failure to comply with the above regulations. The Board’s decisions are final and no reasons will be given for non-selection.
Recent laureates of the Roger de la Pasture / Rogier van der Weyden Prize:
2012 : Élodie DE ZUTTER (Université libre de Bruxelles) und Ruben SUYKERBUYK (Universiteit Gent), for their Master thesis on a portrait of Philip the Good kept in the St Magdalen Hospital in Ath and Michiel Coxcie’s copies of old masters.
2010 : Dominic DELARUE (Universität Heidelberg) and Silvia CAPORALETTI (Università degli Studi diPadova), for their Master thesis on the Vie de saint Josse, an illuminated manuscript from the Burgundian ducal library and the influence of Flemish art on Giovanni Boccati and Antonio da Fabriano, painters from the Marche region.
2008: Chrystèle BLONDEAU (Université Paris Ouest Nanterre La Défense) and Didier MARTENS (Université libre de Bruxelles), for a collection of three important publications.

Conference: Study of Underdrawing and Technology in Painting XIX and Ghent altarpiece study day, 11-13 September 2014

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The Université catholique de Louvain (UCL, Louvain-la-Neuve), the Laboratoire d’étude des œuvres d’art par les méthodes scientifiques (Musée de Louvain-la-Neuve) and the Flemish research centre for the arts in the Burgundian Netherlands of the Groeningemuseum (Musea Brugge) are honoured to announce the XIXth symposium for the Study of Underdrawing and Technology in Painting which will be held in Bruges on 11-13 September 2014. This series of prestigious conferences, already in their nineteenth edition, was initiated in 1975 by the Université catholique de Louvain in Louvain-la-Neuve (UCL). The colloquium is alternately organized by the UCL, the Katholieke Universiteit Leuven (KULeuven) and the Royal Institute for Cultural Heritage (KIK/IRPA) and its Centre for the Study of the Flemish Primitives, who hosted the XVIIIth symposium dedicated to Jan van Eyck in 2012.

The 2014 colloquium is dedicated to Technical studies of paintings: problems of attribution (15th-17th century). Attributions are central questions in art history. Since the introduction of new examination methods such as radiography, infrared photography and reflectography, conventional art history has undergone major changes. Technical examinations can provide additional arguments for attributing works of art to individual artists or their workshops. However, technical studies often also reveal complex working methods, while new scientific imagery sometimes challenges accepted attributions and instigates reconsiderations of traditional attributions. This symposium focusses on the various ways in which technical studies can provide answers to the often complex issue of attribution and will discuss the challenges that art historians face in proposing conclusive theories.

Scientific Committee

Till-Holger Borchert (Musea Brugge, Flemish research centre for the arts in the Burgundian Netherlands), Jacqueline Couvert (UCL, Laboratoire d’étude des oeuvres d’art par les méthodes scientifiques), Christina Currie (KIK/IRPA), Anne Dubois (UCL, FRS-FNRS), Bart Fransen (KIK/IRPA), Valentine Hendericks (ULB, KIK/IRPA), Vanessa Paumen (Musea Brugge, Flemish research centre for the arts in the Burgundian Netherlands), Cyriel Stroo (KIK/IRPA), Jan Van der Stock (KULeuven), Anne van Oosterwijk (Musea Brugge, Flemish research centre for the arts in the Burgundian Netherlands), Dominique Vanwijnsberghe (KIK/IRPA), Lieve Watteeuw (KULeuven)

Ghent Altarpiece International Study Day

ghent altarpiece restorationThe Royal Institute for Cultural Heritage (KIK/IRPA) and the University of Ghent (UGent) are honoured to announce the Ghent Altarpiece International Study Day that will take place in Ghent on 10 September 2014. This is one day before the renowned Symposium XIX for the Study of Underdrawing and Technology in Painting in Bruges (11-13 September 2014).
The day is intended for art-historians, curators, conservators, scientists and other scholars studying Early Netherlandish painting.
In the morning session, six conferences will present a wide range of aspects of the current research and conservation/restoration treatment on the Ghent Altarpiece. In the afternoon, you will be enabled to witness the progress of the treatment in the Museum of Fine Arts of Ghent, and to informally meet with the members of the treatment and research teams. You are also invited to visit St Bavo’s Cathedral and the two exhibitions on the Ghent Altarpiece in the Caermersklooster.

ORGANIZING COMMITTEE
Till-Holger Borchert (Groeningemuseum), Annick Born (UGent), Christina Ceulemans (KIK/IRPA), Bart Fransen (KIK/IRPA), Maximiliaan Martens (UGent), Ron Spronk (Queen’s University, Canada-Radboud University, Holland), Cyriel Stroo (KIK/IRPA), Anne van Grevenstein (St Bavo Cathedral)

Full Conference Registration (registration before 1 july 2014): 250 €
Full Conference Registration (registration after 1 july 2014): 300 €
One Day Registration: 150 €
Speakers: 190 €
Student: 120 € (please include a copy of your student ID)
Conference dinner: 60 €

OFFICIAL WEBSITE AND REGISTRATION: http://symposiumxix.wix.com/underdrawing

BAA Romanesque conference, Barcelona: student scholarships

BAA BarcelonaFollowing earlier conferences on Romanesque and the Past (London, 2010), and Romanesque and the Mediterranean (Palermo, 2012), the British Archaeological Association is collaborating with the Museu Nacional d’Art de Catalunya and the Research project Magistri Cataloniae to stage the third in a biennial series of international conferences concerned with Romanesque art and architecture. This conference, Romanesque: Patrons and Processes, is concerned with patronage – and agency – in their broadest senses during the Romanesque period. Thus, in addition to more traditional prosopographical approaches, and examinations of individual patrons, there will be papers on various forms of institutional patronage. The conference will also address the processes involved in commissioning buildings or works of art – the mechanics of design – authorship – intermediaries and agents – and the extent to which patrons are designers. Are there limits to patronal influence?
Speakers include: Claude Andrault-Schmitt, Maria Bonet, Eduardo Carrero, Manuel Castiñeiras, Hugh Doherty, Eric Fernie, Alexandra Gajewski and Stephanie Seeberg, Ludovico Geymonat, Richard Gem, Dorothy Glass, Colum Hourihane, Armen Kazaryan, Wilfried Keil, Bruno Klein, Esther Lozano, Nathalie Le Luel, Javier Martínez de Aguirre, Géraldine Mallet, Robert Maxwell, John McNeill, Christopher Norton, Anna Orriols, Carlo Quintavalle, Jens Rüffer, Carles Sánchez, Marta Serrano, Neil Stratford and Rose Walker.

The conference will be held on the 7-9th April 2014, with further site visits on the 10-11th April.

A limited number of scholarships for students are available to help cover the cost of the conference. Please apply by 10 November 2013, attaching a short CV along with the name and contact details of one referee. Applications should be sent to the conference convenors on
baa2014bcn@mnac.cat

For more information see here.