Tag Archives: Renaissance

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
– 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

Fellowships at Villa I Tatti, The Harvard University Center for Italian Renaissance Studies

220px-villa_i_tatti2c_ext-2c_giardino_05Villa I Tatti, The Harvard University Center for Italian Renaissance Studies in Florence, Italy is now accepting fellowship applications for the 2018–2019 academic year.
Deadline: November 15

Wallace Fellowship (four or six months; deadline November 15) for post-doctoral scholars who explore the historiography and impact of the Italian Renaissance in the Modern Era (19th–21st centuries).

Berenson Fellowship (four or six months; deadline November 15) for post-doctoral scholars who explore “Italy in the World”. Projects should address the transnational dialogues between Italy and other cultures (e.g. Latin American, Mediterranean, African, Asian, etc.) during the Renaissance, broadly understood historically to include the period from the 14th to the 17th century.

Digital Humanities Fellowship (four or six months; deadline November 15) for projects that cut across traditional disciplinary boundaries and actively employ digital technology. Applicants can be scholars in the humanities or social sciences, librarians, archivists, and data science professionals. Projects should apply digital technologies such as mapping, textual analysis, visualization, or the semantic web to topics on any aspect of the Italian Renaissance.

Villa I Tatti – Boğaziçi University Joint Fellowship (one year; deadline November 15) for post-doctoral research focusing on the interaction between Italy and the Byzantine Empire (ca. 1300 to ca. 1700). Scholars will spend a semester at Villa I Tatti and a semester at the Byzantine Studies Research Center of Boğaziçi University.

Craig Hugh Smyth Fellowship (four or six months; deadline November 15) for curators and conservators. Projects can address any aspect of the Italian Renaissance art or architecture, including landscape architecture.

David and Julie Tobey Fellowship (four or six months; deadline November 15) for research on drawings, prints, and illustrated manuscripts from the Italian Renaissance, and especially the role that these works played in the creative process, the history of taste and collecting, and questions of connoisseurship.

For more information on all fellowships at Villa I Tatti please visit http://itatti.harvard.edu/fellowships

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 :

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


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: 30 October 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 30 October 2017.


Conference: “Astronomy Across the Medieval World,” St Cross College, University of Oxford, Saturday 18th November 2017

astonomytodeleteConference: “Astronomy Across the Medieval World,” St Cross College, University of Oxford – Martin Wood Lecture Theatre, Department of Physics, Saturday 18th November 2017

10.30 am – 5.00 pm

The celestial sky has been a source of fascination since ancient times with astronomy being the oldest of the natural sciences. During the medieval period, astronomy flourished in many cultures across the world, some of which followed on from earlier models created by Ptolemy. The motions of the celestial bodies were investigated, early astronomical observatories were built and some cultures constructed remarkable monuments inspired by astronomical insights. This conference will draw together the different strands of medieval astronomy from across the world and will examine how they interfaced and paved the way for the scientific developments later in the Renaissance.

Registration to attend this conference is free, but must be confirmed using the Conference booking form by midday on Friday 10th November 2017.

Confirmed speakers include:

Dr Giles Gasper (Durham University) – `The Service of Astronomy’ – European Star-Gazing and Its Implications in the Middle Ages

Professor Christopher Cullen (University of Cambridge) – Chinese Astronomy in a World Context

Dr Josep Casulleras (University of Barcelona) – From Ancient to Modern: Astronomy in Medieval Islam

Professor Ivan Šprajc (Slovenian Academy of Sciences and Arts) – Mayan and Aztec Astronomy: Skywatching in Prehispanic Mesoamerica

Dr Benno van Dalen (Bavarian Academy of Sciences and Humanities) – Ptolemaic Astronomy and Its Dissemination in the Islamic World, Europe and Asia

There will be a conference dinner at St Cross in the evening following the end of the conference with an after-dinner talk by Dr Valerie Shrimplin (Gresham College) on the influence of astronomy and the cosmos on medieval art. Although the conference itself is free of charge, the dinner carries a cost of £35 to attend – booking a place for dinner can be done here.

For more information see the website: https://www.stx.ox.ac.uk/happ/events/astronomy-across-medieval-world-one-day-conference


Conference: Art and Economy in France and Italy in the 14th century: new research

giottotodeleteConference: Art et économie en France et en Italie au XIVe siècle. Nouvelles enquêtes,Art et économie en France et en Italie au XIVe siècle. Nouvelles enquêtes, Université de Lausanne, 19-20 October 2017




Jeudi 19 octobre 2017

Nicolas Bock, Michele Tomasi

14h30 L’Italie au Trecento et au Quattrocento : da Giotto alla morte !

Damien Cerutti
Giotto & Cie. Réflexions sur le marché pictural florentin dans le deuxième quart du Trecento

Katalin Prajda
Finanze e attività imprenditoriale nelle industrie pittoriche, orafe e di carpenteria nella Firenze del primo Rinascimento. Come la seta divenne una specialità fiorentina

Fabio Marcelli
Arte, civiltà comunale ed economia nell’Appennino umbro-marchigiano

Giampaolo Ermini
Il cantiere del coro trecentesco del duomo di Orvieto: manovalanza, materiali, costi e finanziamenti

Paola Vitolo
Spese della morte: investimenti per l’aldilà (e per l’al di qua) e pratica artistica (Italia, XIII-XIV secolo)


Vendredi 20 octobre 2017

9h00 Les arts de luxe

Chiara Maggioni
Orfèvreries à Mantoue au XIVe siècle : frais, évaluations, valeurs de marché

Andrea Cravero
Vetri dorati e graffiti del basso medioevo: economia di una bottega assisiate e mercato fiorentino

Giampaolo Distefano
Le occasioni del mercato artistico parigino del Trecento e la carriera dell’orafo Jean le Braelier

11h30  Entre l’Italie et la France

Teodoro De Giorgio
La riorganizzazione del sistema fiscale della corte pontificia avignonese sotto Giovanni XXII (1316-1334) e il nuovo volto del mecenatismo artistico papale

Alain Salamagne
L’usage du bois précieux dans le château en France et en Bourgogne (1350-1450)

14h00 Perspectives méditerranéennes

Doron Bauer
Economic Fluctuations and Artistic Production in The Kingdom of Majorca

Francesco Ruvolo
Prima di Antonello. Nuovi culti, spazio sacro e potere economico, nella Messina tra Due e Trecento

15h00  En ouvrant encore les horizons

Étienne Anheim
L’économie du travail artistique au XIVe siècle en France et en Italie

Wim Blockmans
La spécificité du secteur de l’art dans l’économie du bas Moyen Âge