Tag Archives: reception

CFP: International conference: ‘Multiplied and Modified. Reception of the Printed Image in the Fifteenth and Sixteenth Centuries,’ University of Warsaw and the National Museum in Warsaw, June 28 – 29, 2018

banderolesCall for Papers: International conference: Multiplied and Modified. Reception of the Printed Image in the Fifteenth and Sixteenth Centuries, University of Warsaw and the National Museum in Warsaw, June 28 – 29, 2018
Deadline:  15 January 2018

Keynote speakers:
Jean Michel Massing (University of Cambridge)
Suzanne Karr Schmidt (The Newberry, Chicago)

The production of printed image consists of a multiplication of a particular design, whereas the consumption and reception of single impressions often involve various modifications. Multiple, but virtually identical woodcuts or engravings reproduce and thus disseminate the original composition, while at the same time they have lives of their own. They have been placed in various contexts, coloured, trimmed, framed, pasted into books and onto other objects. The place of prints in both visual and material culture of the fifteenth and sixteenth centuries is a continuously growing field in recent scholarship. However, these studies usually focus on the most prominent centres of production situated in Italy, the Low Countries, France and the Empire. The principal aim of the conference Multiplied and Modified. Reception of the Printed Image in the Fifteenth and Sixteenth Centuries is to contribute to the research on the beginning and early development of the graphic arts from the perspective of the beholder, while broadening geographically the field of inquiry, i.e. by shifting the emphasis to the regions of Central Europe, the British Isles, the Iberian Peninsula, Dalmatia, as well as considering the reception of the European prints on other continents.
Possible topics include but are not limited to:
– Practices of consumption of printed images (owners and beholders, reasons for their interest in printed images; collecting and connoisseurship; printed images in public spaces and in households)
– Printed images in the early modern iconography and contemporary written sources
– Print market, copyright and censorship; printed images in confessional disputes
– Reproductive function of printed images and modifications, adaptations and transformations of original designs, matrices and single impressions
– Printmaking and bookmaking  (role of illustrations in printed books as compared with handwritten illuminated codices; illustrated books and broadsheets, written commentaries to woodcuts and engravings)
We invite proposals from scholars of all disciplines working on the history of print culture.

Papers should be twenty minutes in length and will be followed by a ten-minute Q&A session.
Please e-mail an abstract of no more than 300 words to Magdalena Herman (multipliedandmodified@uw.edu.pl) by January 15, 2018.

Along with your abstract please include your name, institution, paper title and a brief biography of no more than 200 words. Successful applicants will be notified by February 19, 2018. Please indicate whether you would be interested in further developing your paper for a publication.

Reference / Quellennachweis:
CFP: Multiplied and Modified (Warsaw, 28-29 Jun 18). In: ArtHist.net, Oct 31, 2017. <https://arthist.net/archive/16627>.

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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

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.

Call for Applications: Visiting fellowships 2018 (1–4 months), Ptolemaus Arabus et Latinus Project, Bayerische Akademie der Wissenschaften, Munich

csm_05-03_Ptolemaeus_ce38187a3aCall for Applications: Visiting fellowships 2018 (1–4 months), Ptolemaus Arabus et Latinus Project, Bayerische Akademie der Wissenschaften, Munich
Deadline: 1 October 2017

The project Ptolemaeus Arabus et Latinus (PAL) is dedicated to the edition and
study of the Arabic and Latin versions of Ptolemy’s astronomical and astrological texts
and related material. These include works by Ptolemy or attributed to him,
commentaries thereupon and other works that are of immediate relevance to
understanding Ptolemy’s heritage in the Middle Ages and the early modern period up
to 1700 A.D.
The project is hosted by the Bayerische Akademie der Wissenschaften in Munich for a
period of 25 years from 2013 to 2037. It is supervised by Prof. Dr. Dag Nikolaus
Hasse (University of Würzburg) and carried out by five scholars, including two
research leaders, Dr. David Juste and Dr. Benno van Dalen, two post-doctoral
researchers and one doctoral student.
We welcome applications for visiting fellowships tenable in Munich for a period of one
to four months between 1 January and 30 November 2018. The next round of visiting
fellowships is planned for 2020.
-The fellowships amount to € 3100 per month for senior scholars (PhD degree
awarded before 1 January 2013), € 2600 per month for post-docs (PhD degree
awarded after 31 December 2012) and € 1300 per month for doctoral students. In
special cases an additional travel grant may be awarded to overseas applicants. The
fellowships are not liable to taxation in Germany and do not include health
insurance or social benefits.
-Fellows will be offered office facilities at the Bayerische Akademie der
Wissenschaften in Munich, together with the research team, and are expected to
work in Munich most of the time. Fellows will be given access to the research
facilities of the project, including the project’s collection of manuscript
reproductions, and to the research libraries in Munich.
-Fellows are expected to do research in an area relevant to the project and to share
their experience and insights with the other members of the research team.
Research proposals to deal with Ptolemaic sources in languages other than Arabic
and Latin (especially Greek, Syriac, Hebrew and Persian) are also welcome.
-Applications should be sent in English to Prof. Dr. Dag Nikolaus Hasse by email (applications@ptolemaeus.badw.de) before 1 October 2017. Applications should include a complete CV with a list of publications and a research proposal of no more than 500 words. Applicants are asked to state in their research proposal the preferred duration of the fellowship (one, two, three or four months) and to propose a starting date.
Receipt of the application will be acknowledged and the outcome of all applications will be notified by email no later than 31 October 2017.
For further information, please visit our website http://ptolemaeus.badw.de. For
further enquiries, contact Dr. Claudia Dorl at applications@ptolemaeus.badw.de.

Conference: Celtic Revivals: Authenticity and Identity Conference, London 16-17 January 2016

celts_cross_finalCeltic Revivals: Authenticity and Identity Conference

British Museum, January 16 – 17, 2016

Although the Celtic Revival is usually associated with the late 19th century, this conference will demonstrate how it constitutes a whole series of revivals, beginning in the medieval period and continuing into the modern. Leading art and design historians, archaeologists and curators will present the Celtic Revival as a rewriting, recreation and reimagining of the past.

Central to these discussions will be the themes of national and cultural heritage and identities, authenticity and innovation, and the network of ‘Celtic’ connections that span across time, space, media, disciplines and national/cultural borders

Conference Details and Programme

Stevenson Lecture Theatre, British Museum
Coffee and lunch provided
Conference Fee +exhibition visit £50 (£35 concessions/students)

Saturday 16 January

9:30       Registration and coffee

10.15       Introduction

10.30    The Concept of Style in Celtic Art – Colum Hourihane, Princeton University, Emeritus

11:00       TBC – Raghnall Ó Floinn, National Museum of  Ireland

11:30    Break

11:45    Relics, Reliquaries, and the Presence of the Past – Karen Overbey, Tufts University

12:15    Celtic, Scotch and Stuart: Queen Victoria and Scottish Identity – Helen Ritchie, Fitzwilliam Museum

12:45    Lunch

14:00    ‘In the tradition of my race’: Evoking the Celtic past in
later medieval Ireland – Rachel Moss, Trinity College, Dublin

14:30    Medieval Gaelic manuscript miscellanies: changing cultural
contexts – Siobhán Fitzpatrick and Bernadette Cunningham, Royal Irish Academy

15:00    Celtic Revivals and Reappropriations in Art and Books 1760 –
1951 – Murdo Macdonald, University of Dundee

15:30    Coffee break

16:00    Evoking Ireland’s Celtic “Golden Age”: Textiles for the Honan
Chapel at University College Cork – Nancy Netzer, McMullen Museum of Art, Boston College

16:30     Compton Chapel – Revealing the Sources of its Celtic Symbolism – Louise Boreham, Independent Researcher

Sunday 17 January

8:00       Visit to Celts: art and identity (drop in between 8 and 10am)

10:00       Coffee

10:30    The Druids and the Evergreen: authenticity and originality in
fin de siècle Scotland – Frances Fowle and Heather Pulliam, University of Edinburgh

11:30    Celtic collections: the curatorial appetite for ‘Celtic
crosses’ in nineteenth-century Scotland – Sally Foster, University of Stirling

12.00    Lunch

13:00    Gods, warriors and saints: Celts on parade in Edwardian
Scotland – Elizabeth Cumming, University of Edinburgh

13:30    The Death of Tewdrig (1848): ‘A sculpture illustrative of
Cambro-British History.’ – Oliver Fairclough, National Museum Wales

14:00    Break

14:15    The Celtic Revival in the Visual Culture of Wales – Martin Crampin, University of Wales

14:45    Ireland 1893 – 1917:  Celtic Revival or Celtic Twilight?

Organised by the British Museum and University of Edinburgh
The conference is supported by The Kilfinan Trust