Tag Archives: patronage

CFP: Fieri Fecit. Patronage in Rome and in the Campagna Romana from 1050–1300

Last Judgement» (Vatican Museums«…FIERI FECIT» –– is the established wording, with which commissioners usually memorized their donations. Partly these cut deeply into the body and shape of a sacred space, as for example in S. Lorenzo fuori le mura, where Cencius Camerarius, treasurer of the Holy Chair, transformed the crypt over the martyr’s grave of Saint Lawrence. Far more common are donations of liturgical furnishings, such as the ciborium in S. Eustachio, possibly donated by Otto II, Count of Tusculum, around 1200. Apart from liturgical objects, panel or mural painting formed the preferred genre for the patrons, i.e. the famous «Last Judgement» (Vatican Museums), commissioned by two female commissioners of S. Maria di Campo Marzio around 1050.
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CFP: Papal Patronage and Interventions at RSA Conference 2019

Papal Patronage and Interventions | Renaissance Society of America Annual Conference 2019 | Toronto, CA | 17-19 March, 2019

One of the several panels at next year’s RSA Annual Conference will be Papal Patronage and Interventions. From the Schism to the Counter-Reformation, the pope and his court are among the greatest patrons of early modern Europe, seizing upon art and literature as harbingers of Christian order, power, and prosperity. These commissions include a dazzling array of objects, ensembles, and spaces, ranging from miniature vessels to grand palaces – even the renovation of Saint Peter’s itself. We invite proposals for papers that examine the role of artistic and architectural activities in shaping the image, identity, and office of the papacy in the Renaissance. What were the visual, ecclesiastical, and political motors that inspired patterns of patronage? In what ways did these currents stimulate artistic response? What were the stakes of individual objects and monuments commissioned in this heady atmosphere? We conceive of subjects broadly, spanning the European continent from the thirteenth through the sixteenth century.

This panel is sponsored by the Association of Textual Scholarship in Art History.

Please send a short C.V. (no more than one page), a 150-word abstract, and a list of keywords to Tracy Cosgriff (tcosgriff@wooster.edu) and Sara Nair James (sjames@marybaldwin.edu) by July 15.

CFP: Misericordia International Colloquium 2018: Choir Stalls & Their Patrons, Rijeka (Croatia), 13-16 September 2018

cdi16-32-15Call for Papers: Misericordia International Colloquium 2018: Choir Stalls & Their Patrons, Rijeka (Croatia), 13-16 September 2018
Deadline: Feb 15, 2018
Notification of  paper acceptance: March 15, 2018

Misericordia International is an internationally active multidisciplinary network dedicated to the study of choir stalls and their relation to other artistic manifestations during the Middle Ages and to the dissemination of results. The intensive exchange with researchers from neighboring disciplines reveals interfaces between disciplines and subjects of research and provides new impulses for the study of choir stalls. The platform for scholarly exchange is the international conference organized  every two years.

The next colloquium will be held in Rijeka (Croatia) in September 2018. The conference seeks to explore and discuss the relation between choir stalls and their patrons. It aims to present original research in this field as well as to establish productive dialogue between scholars with a particular research interest in choir stalls. Artworks and their patrons have raised and continue to raise many research questions. While choir stalls have been studied extensively for the misericords with profane carvings, less research has been done on the commissions for this type of church furniture. In recent years the focus of choir stall research has moved toward makers and patrons, hence  the previous colloquium’s topic was dedicated to the craftsmen and their workshops. The 2018 conference will focus on problems of ecclesiastical and secular patrons and questions such as who were the patrons of choir stalls and to what extent were they responsible for the final result, or are there differences or similarities between choir stalls considering different patrons – members of chapters, parishes, female and male monastic communities, confraternities and private persons.

We welcome academic papers that will approach this subject in an interdisciplinary and methodologically diverse way.

Acceptable topics may include, but are not limited to, the following:
– collaboration between patrons and craftsmen (carpenters, sculptors and painters)
– results of the archival research;
– inscriptions and used typography on choir stalls;
– migrations of craftsmen and migrations of stylistic features;
– center versus periphery;
– depiction of patrons on choir stalls.

Following the conference, a two-day excursion – visit to selected choir stalls of the region – is planned.
The conference language is English. A publication of the proceedings of this conference is forseen.
Papers should not exceed anticipated maximum time of 20 minutes and will be followed by a 10-minute discussion.

A paper proposal should contain the title and abstract (500 words maximum). Each proposal should be accompanied by full contact information (home and office mailing addresses, e-mail address, and phone number) and a short CV.

Paper proposals should be submitted electronically to: choir_stalls2018@uniri.hr

There is NO registration fee. Administration and organizational costs, working materials, lunch and
coffee breaks during conference are covered by the organizers. Travel expenses and accomodation ARE NOT COVERED.

CFP: Pictor/Miniator: Working across media, 1250–1500, 53rd International Congress on Medieval Studies, Kalamazoo, May 10-13, 2018

michelino_molinari_da_besozzo_-_st-_luke_painting_the_virgin_-_google_art_projectCall for Papers: Pictor/Miniator: Working across media, 1250–1500, Schoenberg Institute for Manuscript Studies Sponsored Session at the 53rd International Congress on Medieval Studies, Western Michigan University, Kalamazoo, May 10-13, 2018
Deadline: 20 September 2017

The multimedia fluidity of artists and artisans in the later Middle Ages is an area ripe for investigation. Across diverse regions in Europe and beyond, many illuminators, both named and anonymous, engaged in forms of art-making in addition to the decoration of manuscript books. Some painted frescoes, panels, and ephemera, while others provided designs and supervised the production of stained glass, enamels, tapestries, and other objects. With some frequency, those who specialized in other media were in turn called upon to illuminate books. While modern studies have focused on individual examples of such multi-media talent, the broader implications of this intermedial fluency remain obscure: within the wider art-historical canon, manuscript illumination as an art form is largely seen as derivative or prone to influence from large-scale media.
This session seeks to re-examine the relationship between manuscript illumination and other fields of artistic endeavor in the later Middle Ages. How did artists themselves consider the differing characteristics and ontologies of these varied supports? How did painters adapt their style and working method when engaging with other media and other categories of object? Did the presence of local guild regulations curtail or encourage multi-media practice, and how did this compare region-to-region or to contexts outside of Western Europe? Beyond evident differences in scale, pricing, and technique, interesting issues arise regarding patronage and audience: how different was the clientele for manuscripts compared to that for painting, for example? How did the relative accessibility and visibility of differing art forms affect the visual solutions achieved? Is a book-bound image “freer” or more experimental than a publically visible one?
The session asks these and other questions relevant to those studying the social contexts of art production, the dynamics of reception, materiality, and the technical characteristics of objects. It seeks to be open-minded in terms of methodological approach, and aims to bring together scholars working on diverse material, in order to initiate a larger conversation that can impact the discipline of art history as a whole.
Please send proposals with a one-page abstract and a completed Participant Information Form (http://www.wmich.edu/medievalcongress/submissions) to Nicholas Herman (hermanni@upenn.edu) by 20 September 2017.

CFP: Towards an Art History of the Parish Church, 1200-1399, The Courtauld Institute of Art, London, 2-3 June 2017

St John the Baptist, WinchesterOrganised by: Dr James Alexander Cameron (The Courtauld Institute of Art) and Meg Bernstein (University of California, Los Angeles/The Courtauld Institute Kress Fellow, 2015-2017)

Paul Binski, in his 1999 Studies in Iconography article, “The English Parish Church and its Art in the Later Middle Ages,” asked “how, and in what ways, we might place the imagery of the parish church at the centre of the study of medieval visual culture rather than seeing it as some unfathomable, and perhaps embarrassing, epiphenomenon of something that was ‘really’ going on elsewhere.” Though some 8,000 parish churches in England can be said to consist largely of medieval fabric, no overarching study of English medieval church architecture is available. Instead, scholarship is generally limited to descriptions of single buildings and their furnishings, and the broader historical significance of this building type has largely gone unaddressed.

Towards an Art History of the Parish Church, 1200-1399, to be held on 2-3 June, 2017 at The Courtauld Institute of Art, will gather scholars to revisit the question of the parish church and its relationship to medieval visual culture. Participants will contribute to a vibrant discussion of the Gothic parish church, its utility as an object of study, and the insights offered on the subject by diverse methodologies. In particular, the conference will prioritise ways in which scholars might think about Gothic parish churches collectively, profiting from the rapidly expanding technologies of the digital age. We are pleased to announce that Professor Paul Binski has agreed to give the closing remarks for the conference, and reflect upon how scholarship has progressed since his Studies in Iconography article.Heckington chancel

The conference draws its temporal focus from the most notable lacuna in scholarship, which concerns the introduction and flowering of Gothic architecture across the English parish church in the thirteenth and fourteenth centuries. The thirteenth century saw a broadly Gothic style replace the Romanesque across England; although this has been studied with regard to great church architecture, the mechanics of what amounts to a major stylistic shift at parish level remain largely uninvestigated. Likewise, the quantity of fourteenth-century work in parish churches further shaped the manifestation of the Gothic style, particularly in features such as sedilia which were originally developed in outside of cathedrals and great monasteries. Given the impact of the English Decorated Style on Late Gothic architectural developments across Europe, the parish church promises to illuminate art historical questions beyond the borders of England. These lacunae are in stark contrast to the smaller corpus of the Romanesque period, which has had a large amount of attention via resources such as CRSBI; and the late medieval church after 1400, which draws on greater availability of documentary evidence.

The organisers invite postgraduate, early-career and established researchers to propose papers representing a revitalised approach to the study of parish churches of the thirteenth and fourteenth centuries, and strategies for dealing with the vast amount of material evidence in tandem with a paucity of written records. They welcome contributions especially regarding architecture but also elements of sculpture, painting and glass, as well as their internal (and external) fittings and furnishings. Papers must be foremost concerned with buildings that are primarily parochial, as distinct from abbeys and cathedrals. Possible areas of inquiry include but are not limited to:

  • Sutterton naveBig data and the understanding of artistic processes through comprehensive regional surveys and categorisation, including the use of online crowd-sourcing techniques
  • The intersection of liturgical function and architectural form, perhaps through innovative strategies such as practical re-enactment
  • Understanding architectural spaces through visual and other sensory perception
  • Aesthetics and allegory: the ’period eye’ approach to understanding medieval art through contemporary literature
  • Formal analysis, and its use in understanding the operation of architectural workshops
  • Archaeology and structural investigation
  • Interactions or distinctions between rural and urban parish churches
  • The geography and topography of the parish church in relation to its surroundings
  • The effect of funerary monuments and individual commemoration.
  • Lay sponsorship and creative involvement in parochial architecture
  • Replacement, retention or adaption of older fabric
  • Comparisons of English parochial architecture with that of the Continent

Please submit abstracts of up to 300 words, as well as a current c.v., to Dr James Alexander Cameron and Meg Bernstein at TAAHOTPC@gmail.com by December 15, 2016. There may be limited funds available to defray costs of travel for speakers. It is intended that conference transactions will be published.

For more updates on the conference, watch the page on The Courtauld website

CFP: After Chichele: Intellectual and Cultural Dynamics of the English Church, 1443-1517

St. Anne’s College, Oxford, 28-30 June 2017

An international conference organised by the Faculty of English, University of Oxford, this event builds on the success of the 2009 Oxford conference, After Arundel: Religious Writing in Fifteenth-Century England, which resulted in a book of essays (ed. by Vincent Gillespie and Kantik Ghosh) that vigorously interrogated the nature of religious and intellectual culture in England in the long fifteenth century. After Chichele adopts a similar investigative and interdisciplinary approach. The period has been chosen precisely because the inner workings of English intellectual and religious life during these years have proved challengingly resistant to the formation of grand critical narratives. What are the chief currents driving the intellectual and cultural life of the church in England during this period? What happened to intellectual questioning during the period, and where did the Church’s cultural life express itself most vividly? What significant parochial, regional, national and international influences were brought to bear on English literate practices? In order to address these questions, the conference will adopt an interdisciplinary focus, inviting contributions from historians, literary scholars, and scholars working on the theology, ecclesiastical history, music and art of the period, and it is expected that a wide range of literary and cultural artefacts will be considered, from single-authored works to manuscript compilations, from translations to original works, and from liturgy to art and architecture, with no constraints as to the conference’s likely outcomes and conclusions. It is intended that the conference should generate a volume of essays similar to After Arundel in scope, ambition and quality.

Plenary speakers: David Carlson, Mary Erler, Sheila Lindenbaum, Julian Luxford, David Rundle, Cathy Shrank.

Possible topics for discussion:
Religious writing and the English Church; the emergence of humanism and the fate of scholasticism; literature and the law; cultural and ecclesiastical patronage; developments in art and architecture; the liturgical life of the Church; the impact of the international book trade and of print; palaeography and codicology; the Church’s role in education, colleges and chantries; the impact of travel and pilgrimage.

Please send 500 word abstracts (for proposed 20-minute papers) by Friday, 12th August 2016 to Vincent Gillespie, Lady Margaret Hall, Oxford OX2 6QA (vincent.gillespie@ell.ox.ac.uk).

Call for papers: Between Heaven and Earth: Ecclesiastical Patronage in Europe, 1400-1600 (Courtauld Institute of Art, 9 May 2015)

Scenes from the Life of a Bishop, panel 1. Before c. 1520. Master of the von Groote Adoration © The Courtauld Institute of Art

Scenes from the Life of a Bishop, panel 1. Before c. 1520. Master of the von Groote Adoration © The Courtauld Institute of Art

Deadline for CFP, 2 February 2015

Third Annual Renaissance Symposium at the Courtauld Institute of Art

In recent years, the artistic commissions of ecclesiastic and lay patrons – both individual and collective – have been a fruitful area of scholarship. Research addressing issues of sacred space, devotional practice, and the materiality of extant objects has generated new insights into the artistic provisions made for patronal commemoration and salvation. Often, however, the interests of lay and ecclesiastical patrons have been considered separately, with a lesser focus on how the differences in their status mediated a shared pursuit of commemoration in death. Clerical patronage of art in Renaissance Europe allowed for an expression of political identity and dynastic power during life, but how did their status and role in society affect their choices for the afterlife? Were ecclesiastical patrons more acutely aware of a pressing need to make provision for their personal salvation than their lay counterparts? If so, was this reflected when commissioning commemorative or devotional art? Was the desire to secure a wider intercessory audience expressed more consciously or emphatically in the art of the clergy?

This conference seeks to shed light on the ways in which ecclesiastical patrons utilised devotional and commemorative art. Was there a dialogue between their individual selves and the institutions in which they chose to locate their foundations? Crucially, how do these foundations comment on ecclesiastical life and afterlife? By examining a category of patrons that was highly aware of devotional and commemorative practice, this conference seeks to gain a better understanding of art commissioned for churches by those appointed to participate in and lead them.
We welcome proposals, exploring material across the stated time span, throughout Europe. Topics might include, but are not limited to:

  • A re-assessment of the recent historiography and scholarship concerning patronage in an ecclesiastical environment, especially when this contrasts with contemporary lay patronage.
  • The relationship between patron and artist or patron and religious institution. 
  • Depiction of ecclesiastical donor and votive figures.
  • The implications of patronal choices of saints and iconography for the intended audience.
  • The role of inscriptions, signatures and heraldry in commemoration.
  • Reference to political stance and success in religious art.
  • Conceptions of heaven and the afterlife as expressed in art.
  • Ecclesiastical institutions prescribing limits to patrons and patronage.
  • Positioning of chapels and memorials in churches.
  • Rituals and liturgy of commemoration.
  • The impact of the Reformation and Counter Reformation on ecclesiastical patronage.

The Renaissance Symposium offers the opportunity for research students at all levels from universities in the UK and abroad to present their research. Unfortunately, we cannot offer travel subsidies. Applicants from outside London are, therefore, encouraged to apply to other funding bodies for travel bursaries to attend the conference.

Abstracts for 15-20 minute papers, not exceeding 250 words, should be sent with a brief academic CV (100 words) to Lydia Hansell (lydia.hansell@courtauld.ac.uk) and Joost Joustra (joost.joustra@courtauld.ac.uk) no later than 2nd February 2015. Successful applicants will be notified by the 12th February 2015.

Organised by Lydia Hansell and Joost Joustra (The Courtauld Institute of Art)