Tag Archives: Sculpture

Books roundup: New Publications in Art

magdeburger-reiter-255x330GABRIELE KOSTER, UTA SIEBRECHT. Der Magdeburger Reiter, Schnell & Steiner, 2017, 368 p.
ISBN: 978-3795432027

Der Band versammelt Beiträge namhafter Experten aus den Bereichen Restaurierung, Kunstgeschichte, Geschichte und Rechtsgeschichte, die den aktuellen Forschungsstand zum Magdeburger Reiter als bedeutende Skulptur der mittelalterlichen Kunst- und Kulturgeschichte aus unterschiedlichen Perspektiven präsentieren.

Der Magdeburger Reiter, entstanden um 1240, gilt als das älteste erhaltene freiplastische Reiterstandbild nördlich der Alpen seit dem Ausgang der Antike und ist damit eine der bedeutendsten Skulpturen der mittelalterlichen Kunst- und Kulturgeschichte Europas. Im November 2015 fand aus Anlass der vollendeten Restaurierung des Kunstwerkes im Kulturhistorischen Museum Magdeburg eine interdisziplinäre Tagung zum Magdeburger Reiter statt.
Der dritte Band der Schriftenreihe des Zentrums für Mittelalterausstellungen widmet sich dem Reiterstandbild als mittelalterliches Kunstwerk, städtisches Wahrzeichen und europäisches Erbe. Erstmals liegt damit eine umfassende Publikation zum Magdeburger Reiter vor. Sie präsentiert fächerübergreifend die wissenschaftlichen Beiträge der Tagung, den Untersuchungs- und Restaurierungsbericht sowie eine umfangreiche Fotodokumentation der bedeutenden Skulpturengruppe.

 

JOSÉ ORFILA. Regards panoramiques sur le monde médiéval et Notre Dame de Reims, Godefroy de Bouillon, 2016, 520 p.JOSÉ ORFILA. Regards panoramiques sur le monde médiéval et Notre Dame de Reims, Godefroy de Bouillon, 2016, 520 p.
ISBN: 978-2841913282

24 figures (en couleurs) et 229 photos (dont14 en couleurs) illustrent ce livre à la gloire de l’architecture du monde médiéval. Depuis plus d’un demi-siècle, la pression toujours renouvelée des esthétiques avant-gardistes a modifié notre vision des choses. Nous avons découvert les mérites des arts les plus lointains et les plus anciens que l’on appelait jadis primitifs et qu’il faut honorer désormais du nom de “premiers”, ce qui les pare d’emblée des plus rares vertus. On est même allé jusqu’à les estimer “plus essentiels”. Rien d’étonnant donc que le gothique, celui des 12eme et 13eme siècles trop élaboré, trop conscient de soi et trop éloigné des pulsions basiques ne soit plus en faveur. De nos jours on se doit d’accorder plus de valeur aux masques africains, aux totems amérindiens et aux statues de l’Ile de Pâques qu’à la Ste Chapelle. Et l’évolution politico-culturelle réactivant les voluptueux mirages de l’Orient qui émoustillaient les mâles romantiques, le Français moyen commence à se sentir plus en phase avec le Tajmahal qu’avec la cathédrale de Reims. Car notre époque est avide de “retours aux sources” à condition que ce soient celles des autres et vénère toutes les traditions sous réserve que ce ne soient pas les nôtres. Ce livre rappelle la richesse de notre civilisation mise à l’écart par les bien-pensants.

 

art-nature-237x330NICOLE R. MYERS (ed.). Art and Nature in the Middle Ages, Yale University Press, 2017, 136 p.
ISBN: 978-0300227055

This splendidly illustrated book explores the universal and multifaceted theme of nature as manifested in Western European art of the Middle Ages. Fascinating essays consider the concept in the context of medieval philosophy, theology, and poetry. The masterpieces highlighted here,  from the distinguished collection of the Musée de Cluny, span the 12th through the 16th centuries and include an impressive array of objects destined for both religious and secular purposes—from exquisite stained glass and carved capitals to spectacular enameled jewelry, illuminated manuscripts, and woven tapestries. Art and Nature in the Middle Ages provides an essential understanding of the symbolism and significance of motifs taken from the natural world, as well as the technical mastery of the medieval artisans who produced these remarkable objects.
Nicole R. Myers is the Lillian and James H. Clark Curator of European Painting and Sculpture at the Dallas Museum of Art.

CONF: Riemenschneider In Situ (Rothenburg/Wuerzburg, 21-24 Jun 17)

220px-Tilman_Riemenschneider_Barbara-1Rothenburg and Würzburg, 21. – 24.06.2017

Conference Program

In 1980, Michael Baxandall introduced the sculptor Tilman Riemenschneider and his artistic milieu to English-speaking art historians — specialists and non-experts alike — with his book The Limewood Sculptors of Renaissance Germany. This publication appeared just a year prior to the first major exhibition of Riemenschneider’s early works in Würzburg’s Mainfränkisches Museum (1981). In the wake of Baxandall’s contribution, several major exhibitions, including those in Washington, Nuremberg, and Würzburg, have been dedicated to the sculptor vis-a-vis his contemporaries in southern Germany. These exhibitions and accompanying volumes have promoted inquiry into Riemenschneider’s commissions, his workshop practice, and the contemporary artistic climate.  But they have also led the sculptor’s works that survive in situ—and thus too large, heavy, or fragile to travel—to receive comparatively less scholarly attention. The Riemenschneider in Situ conferen e aims to redress this gap in art historical scholarship not only by examining the in situ artworks themselves but also the physical and discursive spaces in which they were installed.

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CRSBI – Annual lecture – Tuesday 25th April 2017 – 5.30pm

Ouroboros, single and in pairs at Kilpeck, England

Ouroboros, single and in pairs at Kilpeck, England

North and South of the Loire: The Culture of Copying and the Rebirth of Sculpture
by Professor Deborah Kahn
Tuesday 25th April 2017 at 5.30pm at the Courtauld Institute of Art, London.
 
Abstract
 
From his thesis of 1950 on “Regional Schools of English Sculpture” to his later writings, Professor George Zarnecki, deputy director of the Courtauld Institute of Art from 1961 – 74, showed himself to be a master of visual comparison.  In one of his last articles (written in 1992), he surveyed the iconographic kinship between the earliest Romanesque sculptures at Saint-Benoit-sur-Loîre, Bayeux and Toulouse.  These far-flung similarities revealed a culture of copying that led to what may be regarded as a rebirth of architectural sculpture in these regions.  The article still serves as the basis for further exploration of the visual relationships between the earliest monumental architectural sculpture and the role of copybooks and loose sketches in the transmission of motifs and iconography.   George speculated that the likely source of all these relationships was the monastery and library at Saint-Benoit-sur-Loîre — as indeed has turned out to be the case.   Moreover, the emergent taste for monumental architectural sculpture on the great new ashlar buildings of the first half of the 11th century appears to reflect not only the preoccupations of the abbot of Saint-Benoit, Gauzlin (1004-1030), but also those of his half brother Robert II (972-1031), whose foundations at Saint-Germain-des-Prés and Saint-Aignan at Orléans were richly carved in the 1020s as well.   The rebirth of monumental architectural sculpture in the early eleventh century thus turns out to have been given impetus by the ascendant Capetian dynasty.  These connections amplify the links set forth by George and confirm not only his extraordinary ability to trace previously unnoticed formal lineages but also his role in laying the ground for future studies in the field of Romanesque art.
Invitation is attached.  Seating is unreserved and booking is not necessary but please RSVP to this e-mail address: crsbiconnect@gmail.com

CFP: Final Conference of the BMBF Project “Portals as Places of Transformation” Bamberg, January 11 – 14, 2018

dp300044CFP: Final Conference of the BMBF Project “Portals as Places of Transformation” Bamberg, January 11 – 14, 2018
Deadline: 15 June 2017.

The medieval church portal is in many respects a place of
transformation. At the threshold of a church, various spheres converge
and meet: secular – ecclesiastic, corporeal – spiritual, earthly –
divine. Iconography and formal design offer ample evidence of this
unique situation. At the same time, church portals themselves are
objects of change: their appearances are constantly shifting due to
modification, chromatic reworking and restorative endeavours. After
all, modernism declared portals works of art, and this change of status
was accompanied by a further metamorphosis: The medieval portal became
an aesthetic object and thereby an exhibit with alternative forms of
presentation.

The international final conference of the BMBF Project “Portals as
Places of Transformation” (University of Bamberg, Chair in Medieval Art
History, Professorship in Building Preservation Sciences, Professorship
in Building History and Building Archaeology) will provide various
conference sections focusing on central issues of continuity and change
as they pertain to medieval portals:

Section 1: Conceptual design of medieval portals. The interplay of
architecture and sculpture (building design, design methods,
proportions, room arrangement)

Section 2: Construction of medieval portals. Structural analyses for
the documentation of transformation processes (footing, interlinking of
constructive units, masonry technique, types of stone, structural
analysis, construction process)

Section 3: Iconographic programmes. The portal as a place of spiritual
transformation in the Middle Ages (Iconography, text and image,
eschatological themes, cosmos/cardinal directions)

Section 4: Medieval bronze and wood doors (doors, hinges, mountings,
closing and latching mechanisms)

Section 5: Changing portals. Secular and liturgical use (medieval
procession liturgies, user hierarchy, liturgical dramas and legal acts)

Section 6: Adaptations, alterations and modifications of portals
(restoration layers, renovation measures, surface treatments,
maintenance, supplementation using copies, copying techniques in stone,
plaster und synthetic materials)

Section 7: The portal as a work of art (museum displays, illuminations,
repurposing, virtual presentations and representations)

The conference languages are German, English and French. Please send
your abstract (max. 1500-2000 characters, including spaces) to
Katja.Schroeck@uni-bamberg.de no later than 15 June 2017.

ANN: Summer Course: Study of the Arts in Flanders (Leuven, 18-29 June 2017)

 

campagne_sc3bis_0Leuven, Belgium, June 18 – 28, 2017

Deadline: Nov 30, 2016

 

 

Several Flemish research centres, universities and art museums
collaboratively organise the third edition of the Summer Course for the
Study of the Arts in Flanders in the summer of 2017. After the success
of the two previous editions with a focus on Jan van Eyck and Peter
Paul Rubens, this edition zooms in on Late Medieval and Early
Renaissance Sculpture. The target group for the course are master and
PhD-students in (art) history and junior curators from all over the
world.

The aim of the Summer Course is to bring to Flanders, annually, a group
of 18 select national and international, highly qualified young
researchers and to present them with an intensive 11-day program of
lectures, discussions, and on-site visits. The theme varies annually
and focuses each year on a different art-historical period. The aim is
to provide the participants with a clear insight into the Flemish art
collections from the period at hand, as well as into the available and
most suited research methods, the state of the research and the
research needs. After the course the students will be ambassadors for
the Flemish arts abroad.

The third edition of the summer course is titled Medieval and
Renaissance Sculpture in the Low Countries and will take place from
June 18 through June 28, 2017. It is coordinated by Museum M – Leuven
and the Flemish Art Collection. Excursions will be made to Leuven,
Mechelen, Bruges, Antwerp, Amsterdam, Utrecht, Maastricht, Aachen,
Liège, Zoutleeuw and Brussels. The language of the Summer Course will
be English.

Candidates have earned an MA or are enrolled in a PhD programme, with a
focus on Late Medieval and Early Renaissance Sculpture. Candidates are
at the start of their professional career.
Thanks to the generous support of the Flemish Government the
participation fee of the Summer Course is now set at €900 per person.
The fee includes the full 11-day programme, 10 overnight hotel stays in
a single-occupancy room, all transportation within the programme, all
entry tickets, 2 receptions, 5 lunches and 5 dinners. Not included in
the participation fee is the transportation to and from Belgium.

Four grants in total will be awarded. Thanks to the generous support of
the Samuel H. Kress Foundation’s History of Art Grants Program 2 US
students and citizens are offered a grant that will fully cover the
programme fee and round trip flights between Belgium and the US.

The organisers of the Summer Course together with the Flemish
Government have made available 2 grants of €450 each. The recipients of
the grant will pay a reduced participation fee of €450 instead of the
regular fee.

Apply now through November 30, 2016. Mail to
Matthias.Depoorter@vlaamsekunstcollectie.be.

The Summer Course is a joint initiative of Museum M – Leuven, the Royal
Museum of Fine Arts Antwerp, the Groeninge Museum Bruges, the Museum of
Fine Arts Ghent, the University of Ghent, the Catholic University of
Leuven, the Flemish Research Centre for the Arts in the Burgundian
Netherlands, the Rubenianum and the Flemish Art Collection. The
structural content partner for this edition is the Royal Institute for
Cultural Heritage.

Contact: Matthias.Depoorter@vlaamsekunstcollectie.be
Website: http://summercourse.eu
Facebook: http://on.fb.me/1VSivk4
Youtube: https://youtu.be/p95n769iVI0

CFP: AAH Session, Ritual and Sensory Experience in Medieval Sculpture

AAH 2017
43rd Annual Conference & Art Book Fair
Loughborough University
6th to 8th April 2017

Call for Papers: Ritual and Sensory Experience in Medieval Sculpture

Fixed to the facades of great buildings, or nestled within an elaborate architectural surround, medieval sculpture has a reputation as being static, immovable and durable. This session seeks to challenge these assumptions by examining the sensory environment of medieval sculpture and its relationship to ritual and performative practices.

Medieval rituals utilised a variety of objects and materials, and stimulated multiple senses through visual, musical and physical aspects of devotion. As incense burned and music filled the air, sculpture often provided a visual and tactile complement to these sensory experiences. The interactive role of sculpture is paramount for understanding the social qualities of medieval ritual and its bodily–kinaesthetic relationship to sacred space. Sculpture provides a tangible link to the study of ritual performance and a means of accessing the ephemeral activities central to medieval life. This session sets out to provide stimulating conversations on the study of medieval sculpture beyond the visible qualities of the medium.

Paper topics in this session might include examinations of the ritual context of funerary monuments, liturgical props, processional sculpture, reliquaries, cult statues and devotional objects, among others. We are also interested in papers that consider pedagogical approaches to ritual and offer new methodologies for their study. To supplement this session, we would like to propose a visit on the following day to Loughborough’s All Saints with Holy Trinity parish church to continue this conversation in a medieval space.

This session is facilitated by the Henry Moore Institute, a centre for the study of sculpture. It will incorporate the expertise of medieval sculpture scholars, including Dr Peter Dent (Bristol University and co-editor of Sculpture Journal) and Dr Stacy Boldrick (University of Leicester), who will serve as respondents to this session.

Session Convenors:
Elisa A Foster, Henry Moore Institute, elisa.foster@henry-moore.org
Jessica Barker, The Courtauld Institute of Art, jessica.barker@courtauld.ac.uk

Please email your paper proposals straight  to the session convenor(s). Provide a title and abstract for a 25 minute paper (max 250 words). Include your name, affiliation and email. Your paper title should be concise and accurately reflect what the paper is about (it should ‘say what it does on the tin’) because the title is what appears most first and foremost online, in social media and in the printed programme.

You should receive an acknowledgement of receipt of your submission within two weeksDo not send proposals to the Conference Administrator or the Conference Convenor.

Deadline for Paper Proposals: 7 November 2016

 

Edinburgh College of Art Trecento seminar, Artist and Authorship (6 May 2016)

Scultore, Firenze, Museo Bardini3 (1)6th May 2016
10:00 – 17:00
Hunter Lecture Theatre, Edinburgh College of Art, 74, Lauriston Place , Edinburgh

Convened by Claudia Bolgia and Luca Palozzi from the School of History of Art

This one-day international research seminar on ‘Artist and Authorship’ is designed to take stock of the field, showcase award-winning, original research and discuss different methodologies, thus charting new avenues for future research. While the research seminar’s main focus of attention is the Italian Trecento, contributions reach well beyond it to investigate different geographical areas – both East and West (Portugal, France, Spain, Byzantium) – across a broader timespan, including contemporary perspectives on the topic.

FREE AND OPEN TO ALL.

BOOK YOUR FREE TICKET(S) HERE. LIMITED CAPACITY

Programme

10.00 – 10.15 Luca Palozzi (Edinburgh College of Art), Introduction

Session 1: Visual Networks and Artistic Flows

Chair: Luca Palozzi (Edinburgh College of Art)

10.15 – 10.40 Emanuele Lugli (University of York), ‘Inventing the Network: Linking Figures and Connecting Knowledge in Trecento Italy’

10.40 – 11.05 Carla Varela Fernandes (Universidade Nova de Lisboa, Portugal), ‘France-Catalonia-Portugal: artistic flows in the Trecento. Some examples from the Digital Index of Magistri Cataloniae’

11.05 – 11.20 Q&A

11.20 – 11.40 Coffee break

Session 2: Authorship and Self-Representation: East and West

Chair: Claudia Bolgia (Edinburgh College of Art)

11.40 – 12.05 Maria Lidova (British Museum, University of Oxford), ‘Manifestations of Authorship: Artists’ Signatures in Byzantium’

12.05 – 12.30 Giampaolo Ermini (Scuola Normale Superiore, Italy), ‘The Opere firmate nell’arte italiana / Medioevo Project : some notes on Sienese metalworkers’ signatures: goldsmiths, locksmiths, bell makers’

12.30 – 12.55 Donal Cooper (University of Cambridge), ‘The Authorship and Audience of the Meditations of the Life of Christ’

12.55 – 13.10 Q&A

13.10 – 14.00 Lunch

Session 3: Self-awareness and Reception

Chair: Claudia Bolgia (Edinburgh College of Art)

14.00 – 14.25 Luca Palozzi (Edinburgh College of Art), ‘Before the Paragone: Trecento Visual Intelligence and the Critical Misfortune of Sculptors’

14.25 – 14.50 Corin Sworn (Artist and Lecturer, Ruskin School of Art, Oxford), ‘The Mobile Screen and the Early Modern Stage: A contemporary artist’s take on borrowing from the past’

14.50 – 15.00 Q&A

15.00 – 15.20 Coffee break

Session 4: Postgraduate Research Showcase, Discussion and Conclusions

Chairs: Claudia Bolgia (Edinburgh College of Art), Robert Gibbs (University of Glasgow), John Richards (University of Glasgow), Luca Palozzi (Edinburgh College of Art)

15.20 – 15.50 Research Showcase with History of Art PhD candidates at the University of Edinburgh

Maria Gordusenko, ‘Magester Ursus and his self-representation in the church of Santi Pietro e Paolo in Ferentillo’
Amelia Hope-Jones, ‘The Elusive Artist: A Thirteenth-Century Tabernacle in the National Gallery of Scotland’
Fabian Bojkovsky, ‘A Jewish Convert as Artist: The Shrine of San Vicente, Sabina and Cristeta at the Intersection between Legend, Historicity and Propaganda’
15.50 – 16.20 Discussion

16.20 Claudia Bolgia (Edinburgh College of Art), Conclusions

For all enquiries, please email: luca.palozzi@ed.ac.uk.