Tag Archives: Renaissance

Call for Papers: Art of The Invisible, Courtauld Institute of Art 19/10/2018, Deadline 14/05/2018

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An interdisciplinary conference at The Courtauld Institute of Art exploring art’s relationship with the invisible.

‘He even painted things that cannot be represented …’, Pliny eulogized Apelles in his Naturalis historia. ‘How can we with mortal eyes contemplate this image whose celestial splendour the host of heaven presumes not to behold?’, asks a Byzantine hymn dedicated to the celebrated Image of Edessa. Cennino Cennini, in the first chapter of his Libro dell’arte, writes that painting ‘…calls for imagination, and skill of hand, in order to discover things not seen, hiding themselves under the shadow of natural objects, and to fix them with the hand, presenting to plain sight what does not actually exist.’ In her 1949 essay Some memories of Pre-dada: Picabia and Duchamp, Gabrielle Buffet-Picabia tried to summarise the art of her era: ‘It would seem … that in every field, the principal direction of the 20th century was the attempt to capture the “nonperceptible”.’

Art has been preoccupied with the invisible before, between, and beyond these disparate yet kindred statements. One of artists’ greatest challenges is and has been representing the invisible subject, in its many guises. Artists working in media based on perception, such as painting, drawing, sculpture, photography, and installation, must devise strategies to visualise the invisible: It is a foundational paradox of art.

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Call for papers: Renaissance Research Colloquium

Renaissance Research Colloquium
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A collaboration between the Institutes of Art History at the University of Leipzig and the University of Würzburg with the École Pratique des Hautes Études Paris (Sorbonne), PSL (HISTARA)
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CFP: 5th Annual Jane Fortune Conference: The Colors of Paradise. Painting Miniatures in Italian Convents, ca. 1300-1700, The Library of San Marco, Florence, October 11 – 12, 2018

gradual1Call for Papers: 5th Annual Jane Fortune Conference: The Colors of Paradise. Painting Miniatures in Italian Convents, ca. 1300-1700, The Library of San Marco, Florence, October 11 – 12, 2018T
Deadline: 15 January, 2018

5th Annual Jane Fortune Conference

The Colors of Paradise. Painting Miniatures in Italian Convents, ca. 1300-1700

This conference is co-organized by The Medici Archive Project and the Museo Nazionale di San Marco.

Since the late Medieval period, members of female religious communities have engaged in the making of small-scale paintings, or miniatures, on a wide variety of supports. Many of these miniatures were produced to ornament liturgical and devotional books; others graced objects such as candles and altar frontals. While nuns’ activity in this realm has been documented quite extensively in northern Europe, the Italian production of miniatures is less understood, aside from case studies of a few individuals such as Eufrasia Burlamacchi (1482 –1548). It is hoped that this conference will not only consolidate what is known about the production of miniatures by Italian nuns, but also catalyze new research. To encourage reflection upon the continuity of technical practices and models across arbitrary period divisions, the time frame of this conference has been extended broadly. Insight obtained through technical examination or the material analysis of nuns’ artworks will be especially welcome.

Papers may be given in Italian or English.

Suggested Paper Topics:

-Technical studies identifying pigments, binding media, or supports for miniatures produced in or for Italian convents
-New attributions of miniatures to Italian nun artists
-Biographical studies on Italian nuns who made miniatures
-Analyses of the visual or textual sources of the iconography of Italian nuns’ miniatures
-Miniature painting considered within the context of liturgy, devotional practices, and the organization of the conventual life of Italian nuns.
-The commissioning, gifting, and circulation of works containing Italian nuns’ miniatures
-Comparitive studies of miniatures and Italian nuns’ work in other media such as embroidery
-Considerations of the technical know-how and workshop materials available to Italian nuns, as well as their collaborations with artisans outside the convent
-Reflections on problematic issues in the current historiography on the topic, and on methodology

The conference will take place on both the afternoon of Thursday, October 11, and the morning of Friday, October 12, 2018, and it will be held in the Biblioteca di San Marco in Florence.

To apply: please send a CV and a brief abstract of your paper, in English or Italian, to: barker@medici.org by January 15, 2018. Decisions will be announced within three weeks. Limited funding may be available for travel and lodging.

Deadline 15 November: The Courtauld Institute of Art’s 23rd Annual Medieval Postgraduate Colloquium: Collecting (in) the Middle Ages, 16 February 2018

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Call for papers: The Courtauld Institute of Art’s 23rd Annual Medieval Postgraduate Colloquium: Collecting (in) the Middle Ages, The Courtauld Institute of Art, 16 February 2017
Deadline: 15 November 2017

The Courtauld Institute of Art’s 23rd Annual Medieval Postgraduate Colloquium invites speakers to consider the nature of medieval collections, the context of their creation and fruition, and their legacy — or disappearance — in the present.

Inspired by objects such as a cedar box chest once kept in the Holy of Holies of the Lateran, this colloquium seeks to explore a diverse set of topics surrounding medieval practices of collecting. This wooden box may seem simple, but once opened it reveals a priceless collection: fragments of rock and wood from the Holy Land, each labelled with its precise place of origin by a sixth-century hand. Here and there, stones have fallen out, leaving imprints in the soil. The wooden relic chest is an object of small size and almost no material value, but has nevertheless been treasured for centuries by one of the largest and most powerful institutions of the medieval world.

The study of medieval collecting raises a variety of questions. How and why were objects collected, practically and conceptually? What was their expected time-span and what enabled their survival? How have medieval collections impacted modern scholarship, and how do modern collecting and display practices influence our interpretation of the past?

Applicants to the colloquium are encouraged to explore these issues from a diverse range of methodologies, analysing objects from the 6th to the 16th century and from a wide-ranging geographical span. Possible areas of discussion might include:

  • Collecting through time: How do we define the medieval collection/collector? How did medieval objects take on new meanings in medieval collections, ie. in the case of spolia? How has scholarship on medieval art been influenced by varying collecting practices and curatorial strategies across time?
  • Collecting in space: can the idea of the ‘collection’ be expanded to include objects, places and spaces spread across different geographical locales? Could objects or spaces communicate their commonality across a distance? How did pilgrimage routes, travel narratives and travel guides conceptualize their surroundings and weave a thread through geographical and historical difference?
  • Collectors, intermediaries, and craftsmen: how did institutions and single collectors acquire and expand their collections? For example, did they rely on a merchant network to acquire foreign objects or new relics? Did they collect newly commissioned objects, and display them in purpose-built spaces?
  • Collections and Legacies: how did inheritance impact the notion of collecting, looking forwards as well backwards? How did the meaning of objects change as they were passed down through families and dynasties? What happened to collections when familial lines ended? How did individuals link themselves to courts or dynasties through collections?
  • Accessibility: When, how and why were collections visible? Were there different levels of accessibility and interaction and who was allowed to ‘access all areas’? How were restricted collections advertised and open collections protected? And did objects themselves interact with each other, for example in specific displays or assemblages?
  • Organising Collections: What were the systems for assembling a collection, and for how they were curated? How did purpose-built spaces impact the growth of collections, and vice-versa? What were the roles of documents in collections, and how have medieval recording practices influenced modern views of the medieval collection?

The Medieval Postgraduate Colloquium offers an opportunity for research students at all levels from universities across the UK and abroad to present, discuss and promote their research. To apply, please send a proposal of up to 250 words for a 20 minute paper, together with a CV, to costanza.beltrami@courtauld.ac.uk and maggie.crosland@courtauld.ac.uk no later than 15 November 2017.

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Deadline Extended: The Courtauld Institute of Art’s 23rd Annual Medieval Postgraduate Colloquium: Collecting (in) the Middle Ages, 16 February 2018

HolyofHoliesReliquary

Call for papers: The Courtauld Institute of Art’s 23rd Annual Medieval Postgraduate Colloquium: Collecting (in) the Middle Ages, The Courtauld Institute of Art, 16 February 2017
Deadline: 15 November 2017

The Courtauld Institute of Art’s 23rd Annual Medieval Postgraduate Colloquium invites speakers to consider the nature of medieval collections, the context of their creation and fruition, and their legacy — or disappearance — in the present.

Inspired by objects such as a cedar box chest once kept in the Holy of Holies of the Lateran, this colloquium seeks to explore a diverse set of topics surrounding medieval practices of collecting. This wooden box may seem simple, but once opened it reveals a priceless collection: fragments of rock and wood from the Holy Land, each labelled with its precise place of origin by a sixth-century hand. Here and there, stones have fallen out, leaving imprints in the soil. The wooden relic chest is an object of small size and almost no material value, but has nevertheless been treasured for centuries by one of the largest and most powerful institutions of the medieval world.

The study of medieval collecting raises a variety of questions. How and why were objects collected, practically and conceptually? What was their expected time-span and what enabled their survival? How have medieval collections impacted modern scholarship, and how do modern collecting and display practices influence our interpretation of the past?

Applicants to the colloquium are encouraged to explore these issues from a diverse range of methodologies, analysing objects from the 6th to the 16th century and from a wide-ranging geographical span. Possible areas of discussion might include:

  • Collecting through time: How do we define the medieval collection/collector? How did medieval objects take on new meanings in medieval collections, ie. in the case of spolia? How has scholarship on medieval art been influenced by varying collecting practices and curatorial strategies across time?
  • Collecting in space: can the idea of the ‘collection’ be expanded to include objects, places and spaces spread across different geographical locales? Could objects or spaces communicate their commonality across a distance? How did pilgrimage routes, travel narratives and travel guides conceptualize their surroundings and weave a thread through geographical and historical difference?
  • Collectors, intermediaries, and craftsmen: how did institutions and single collectors acquire and expand their collections? For example, did they rely on a merchant network to acquire foreign objects or new relics? Did they collect newly commissioned objects, and display them in purpose-built spaces?
  • Collections and Legacies: how did inheritance impact the notion of collecting, looking forwards as well backwards? How did the meaning of objects change as they were passed down through families and dynasties? What happened to collections when familial lines ended? How did individuals link themselves to courts or dynasties through collections?
  • Accessibility: When, how and why were collections visible? Were there different levels of accessibility and interaction and who was allowed to ‘access all areas’? How were restricted collections advertised and open collections protected? And did objects themselves interact with each other, for example in specific displays or assemblages?
  • Organising Collections: What were the systems for assembling a collection, and for how they were curated? How did purpose-built spaces impact the growth of collections, and vice-versa? What were the roles of documents in collections, and how have medieval recording practices influenced modern views of the medieval collection?

The Medieval Postgraduate Colloquium offers an opportunity for research students at all levels from universities across the UK and abroad to present, discuss and promote their research. To apply, please send a proposal of up to 250 words for a 20 minute paper, together with a CV, to costanza.beltrami@courtauld.ac.uk and maggie.crosland@courtauld.ac.uk no later than 15 November 2017.

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CFP: Bad Reception: Negative Reactions to Italian Renaissance Art, Graduate Conference, Florence, Kunsthistorisches Institut in Florenz – Max-Planck-Institut, November 15 – 16, 2018

longform-original-10978-1418143091-9Call for Papers: Bad Reception: Negative Reactions to Italian Renaissance Art, Graduate Conference, Florence, Kunsthistorisches Institut in Florenz – Max-Planck-Institut, November 15 – 16, 2018
Deadline: January 31, 2018.

Advanced students currently enrolled in a Doctoral (Ph.D.) program are invited to submit a proposal for a paper to be presented at “Bad Reception: Negative Reactions to Italian Renaissance Art;” this international workshop will be held on 15-16 November 2018 at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut. The event is organized by Diletta Gamberini (Italian Literature, Ludwig-Maximilians-Universität München), Jonathan Nelson (Art History, Syracuse University in Florence), and Alessandro Nova (Art History, Kunsthistorisches Institut in Florenz – Max-Planck-Institut).

For the first time, “Bad Reception” sets out to bring together scholars from a variety of disciplinary fields to discuss the phenomenon of the negative reception of Italian art and architecture, as expressed across a broad spectrum of responses written during the long Cinquecento (late 15th to early 17th century). Scholarly literature has generally focused on individual case studies, or else on the specific inflections of negative criticism in codified literary writings, such as vituperative poems on art. The present workshop seeks to advance the current state of scholarship by exploring the intersections of different genres of texts that were used to criticize paintings, sculptures, and architectures (e.g. artistic literature, epistolography, poetry, memorialistic, and archival documents), and by seeing the impact these discourses had on the afterlife of the art under discussion.

We ask participants to consider one or more of the following points, ideally in reference to several different examples:

– What were the conventions used for criticizing works of art? What were their literary and art-historical sources and models? And how did such conventions evolve over the period under examination?
– How did the criticism articulated by one type of textual discourse (e.g. vituperative poetry) interfere with the form, contents and scope of negative comments to artworks made in different genres?
– On what aspects of the works of art did the critic mostly focus (e.g. lack of decorum, verisimilitude, iconography, technical skill, beauty)?
– What were the consequences of the negative evaluations for the artistic product itself and/or for its author (e.g. revision, rejection, removal, or destruction of the artwork; reduced status of the artist; different forms of reply to the comments)?

The workshop will consist of a series of 25-minutes papers, either in English or Italian, given by senior and junior scholars. Publication of the contributions to the “Bad Reception” workshop will be decided after the event. The Kunsthistorisches Institut in Florenz will provide funding toward the cost of travelling and accommodation for accepted speakers.

Applicants must be currently enrolled in a Doctoral program; dissertation topics need to have been formally accepted. Proposals, written in English or Italian, must include the following information:
1. Academic Summary (university level only): a) name and address of current institution, b) short description of PhD dissertation (200-300 words), c) expected date of completion, d) name and email address of advisor(s).
2. Professional Summary: a list of relevant work experience and/or publications.
3. Proposal: title, and short description (200-300 words).

Interested applicants should send their proposal, in a single file (PDF),
to sekr_nova@khi.fi.it by January 31, 2018.

CFP: International Graduate Students Colloquium, “Why did they choose this place? Settlements, Representations and References of Buildings and Objects (11th-17th centuries)”, Amiens (France) 29-30 May 2018

afficheCall For Papers: International Graduate Students Colloquium, “Why did they choose this place? Settlements, Representations and References of Buildings and Objects (11th-17th centuries),” Amiens (France), 29-30 May 2018
Deadline: 15 January 2018

The research laboratory Trame (Texts, Representations, Archaeology and Memory from Antiquity to the Renaissance) of the University of Picardie Jules Verne associated with the research unit Transitions. Middle Ages and First Modernity (University of Liège) and with the Center for Advanced Studies in the Renaissance of the University François Rabelais (Tours) is organising three international meetings implemented by PhD students of these three institutions. the aim of the meetings is to enable exchanges and discussions between PhD students, junior researchers and experimented colleagues.

The first meeting will be held in Liège on Tuesday the 30th of January and Wednesday the 31st of January 2018 on the theme “Transition(s): concept, methods and case studies (14th-17th centuries)”.

The second meeting will be held in Amiens on Tuesday the 29 th of May and Wednesday the 30rd of May 2018 on the theme : “Why did they choose this place? Settlements, Representations and References of Buildings and Objects (11th-17th centuries)”

This colloquium will be divided into two parts: first, the choice of the place of the building, and then the choice of the place of the object.
The construction of a new building usually start with an important thinking concerning the localization. The choice is strategic or symbolic, sometimes both, and depend on its function, its sponsor and its geographical context. For example, a monastery will set up on a secluded place or, in the contrary, on an urban center; a military fortress must occupy a strategic place to dominate a territory etc. In this way, it’s interesting to study all these factors, actors and issues regarding the establishment process in a rural, urban or suburban context. In the same way, objects (such as paintings, sculptures, precious objects, reliquaries, pieces of jewellery, funerary monuments, pieces of furniture, symbols of power etc.) are interesting to study. A lot of them need to be placed on a specific location, whether it’s in a real place or in the composition of a bidimensional work. The place where the object is arranged can be modified in consequence as there
are interactions between them. The goal of this meeting is to gauge the notion of place in all its forms in order to understand its meaning and its importance during the Middle Ages and First Modernity.

Day 1: The place of the Building
This first day will be focused on the buildings. The statements have to match the three
following approaches:
– The location choices of the edifice: how the place was chosen? Who were the actors of this choice? What were the effects of this implantation on a local and global historical context? Studies could focus on a specific place, a religious community, an edifice or an archaeological site. It’s a matter of showing the location strategies and the territorial transformations after the creation of a new “place of power” or a place of production in a historical and geographical context.
– The place‘s portrayal is the second theme: why did they choose this place? How is it
represented and why? Are they accurate the original place? How fictive places are show? The statements have to consider the different means used to point out peculiar location and the underlying goals.
– The place’s references in the sources: how literature and manuscripts mention those places whether real or fictive? What is the purpose in those texts? In an illuminated book, how is introduced the description of the place and what are the connections between the picture and the text? The statements could cover the evolution of the terms used to qualify a place. For example, the Latin word “prioratus” is barely used to qualify a priory between the 11th and the 13th centuries in manuscripts but we find lot of others words like house, farm, church etc.

Day 2: The place of the object
Concerning the place of the object we propose the three following themes:
– The position of the object:  usually, special objects are put in specific places: a building, a public space or a private one, or even a tomb. It would be interesting to attempt to understand why those objects have been placed in well-chosen areas, which were the factors and the issues according to which this decision has been made and by who. The history of the different places in which an object dating back to the 11th to the 17th century has been settled from his creation up to the present time can be made through a historiographical perspective. Reflections focusing on the methods used by historians, historians of arts or archaeologists to identify the original place of an object are
welcomed.
– Interaction between the object and the place: the goal is to think about the conjoint and
disjointed evolution of the building and the object: which are the impacts of the mutations and the intern reconstructions of the building on the object? How a building can specifically be built to accommodate one or several objects? This theme concerns both religious and public spaces, but also private places and the first experiences in museum architecture linked to a collection. Once again, all reflections about the methodology used to understand those interactions are welcomed.
– Representation of the object in paintings, illuminated manuscripts and sculptures: this
third theme invite to wonder about the methods used to represent the object on pieces of art. How is it put on the spot when it plays a central role in the pieces of art? How an object can be used to build up the composition of a picture?

Contribution Modalities
Lectures should relate to history, archaeology, history of arts and literature, from the 11th to the 17th century. The purpose is to have a brand new and interdisciplinary view on the notion of “place” which finally concern several research subjects. Communications should try to introduce historiographical elements enabling to develop comparisons between the different interventions and to think about the notion of “place” nd its evolution through time.

The proposals are expected for the 15th of January 2018 at the latest. They should be fifteen-line summary of the proposed lecture addressed to the Organising Committee, send together with a CV, the title of the thesis et the name of the research director(s). Candidate will be informed of the approval or the rejection of their proposal by the 15 th of February 2018.
Lectures should last 20 minutes maximum, with the possibility to project a Powerpoint. They can be made in French or in English.
We will unfortunately not be able to provide you financial help for the accommodation or the transport.
If you need an attestation to valorise your participation, we will be able to provide it.
Please do not hesitate to contact us if you need further information.
Organising Committee:
– Julie Colaye, PhD student in medieval history : juliecolaye@gmail.com
– Marie Quillent, PhD student in history of medieval art : marie.quillent@wanadoo.fr