Tag Archives: Sculpture

CFP: ‘Scaling the Middle Ages: Size and Scale in Medieval Art’, Courtauld Institute of Art’s 24th Annual Medieval Postgraduate Colloquium, London, Friday 8 February 2019

image-1024x745The Courtauld Institute of Art’s 24th Annual Medieval Postgraduate Colloquium invites speakers to consider issues and opportunities encountered by medieval artists and viewers in relation to size and scale.

Deadline: 16 November 2018

From micro-architectural reliquaries and minute boxwood prayer beads to colossal sculpture and the built spaces of grand cathedrals and civic structures, size mattered in medieval art. Examples of simple one-upmanship between the castles and palaces of lords and kings and the churches and cathedrals of abbots and bishops are numerous. How big to make it was a principal concern for both patrons and makers of medieval art. Scale could be manipulated to dramatic effect in the manufacture of manuscripts and the relative disposition of elements within their decorative programmes. Divine proportions – of the Temple of Solomon or the Church of the Holy Sepulchre – were evoked in the specific measurements and configuration of contemporary buildings and decisions were made based on concern with numbers and number sequences.

Inspired by the ‘Russian doll’ relationship between the Sainte Chapelle in Paris and its micro-architectural miniature in the form of a gilded reliquary in the Musée de Cluny, Scaling the Middle Ages seeks to explore a range of questions surrounding proportion, scale, size, and measurement in relation to medieval art and architecture. The Sainte Chapelle, built by the saint-king of France Louis IX to house the relics of Christ’s Passion, is itself often described as an over-sized reliquary turned inside-out. The Cluny reliquary – made to house relics of Saints Maxien, Lucien, and Julien held within the chapel – both complicates and compliments that comparison, at once shrinking the chapel back down to size through close architectural quotation of its form in miniature and pointing the viewer’s attention back to that same, larger space. The relationship between these two artefacts raises a host of questions, including:

Scale and making

How were ideas about size and scale communicated between patrons, architects, craftspeople, and artists? In an age without universal standardised units of measurement, how did craftsmen negotiate problems of scale and proportion?

How were the measurements of a medieval building determined? What techniques did architects, masons, and artists use to determine the scale of their work?

Scale and meaning

What effects were achieved and what responses evoked by the manipulation of scale, from the minute to the massive, in medieval art?

What was the role of proportion and scale in architectural ‘copies’ or quotations?

What representational problems were encountered by artists approaching out-sized subjects, such as giants?

How was scale manipulated in order to communicate hierarchy or relative importance in medieval art?

How did size and scale function in competition between patrons or communities in their artistic commissions and built environments?

Problems of scale

What, if anything, happened when something was the wrong size? When was something too big, or too small? And how were such problems solved by patrons and makers?

How does the disembodied viewing of medieval art through digital surrogates distort or assist in our perception of scale?

How can modern measuring techniques and digital technology enhance our understanding of medieval objects and buildings?

Applicants to the colloquium are encouraged to explore these and related issues from a diverse range of methodologies, analysing buildings and objects from across the Middle Ages (broadly understood in geographical and chronological terms). 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 teresa.lane@courtauld.ac.uk and oliver.mitchell@courtauld.ac.uk no later than 16 November 2018.

Organised by Oliver Mitchell and Teresa Lane (The Courtauld Institute of Art)

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CFP: The Saint Enshrined: European Tabernacle-altarpieces, c.1150-1400, Valladolid, June 7–8, 2019

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 Tabernacle-shrine from Mule,
Iceland, now in the Nationalmuseet
in Conpenhagen; c.1250.
Photo: Justin Kroesen

Almost every Medieval church had one or more sculptures of saints, many of which were placed on altars, in wall niches or in so-called tabernacle-altarpieces. This last category refers to three-dimensional, canopied structures, embellished with bright colours and equipped with movable wings that housed cult images of the Virgin and Child or saints. This early type of altarpiece became widespread in Europe between c.1150 and 1400. Nowadays, examples are scarce and often fragmented, overpainted and reconstructed. Most of them come from the geographical periphery of Europe and almost all of them are now without their original context, as they hang on museum walls or in churches as isolated relics.

The purpose of this international symposium is to explore and discuss early tabernacle-altarpieces in different regions of Europe: their provenance, patronage, function, and role in popular piety. We invite speakers to submit proposals for 15-minute papers to be presented during the symposium. Proposals should go beyond case studies and look at such topics as the use and re-use of tabernacle-altarpieces, media involved in their creation, regional differences, etc.

How to Submit: Proposals of c.300 words should be submitted to Fernando Gutiérrez Baños, fbanos@fyl.uva.es.

Deadline: Friday 18th of January 2019.

All proposals will be examined by the Scientific Committee. It is hoped that an edited volume of the symposium proceedings will be published. Successful candidates will be offered free registration.

SCIENTIFIC COMMITTEE: Fernando Gutiérrez Baños, Universidad de Valladolid; Justin Kroesen, Universitetsmuseet i Bergen; Elisabeth Andersen, Norsk institutt for kulturminneforskning.

KEYNOTE SPEAKERS: These will include members of the Scientific Committee; Stephan Kemperdick, Staatliche Museen zu Berlin, Gemäldegalerie; Teresa Laguna Paúl, Universidad de Sevilla; Cristiana Pasqualetti, Università degli Studi dell’Aquila; and Alberto Velasco Gonzàlez, Museu de Lleida: diocesà i comarcal.

PROGRAM (PROVISIONAL): Friday 7th  of June, session held in the Universidad de Valladolid (Facultad de Filosofía y Letras, Sala de Juntas); Saturday 8th  of June, field trip to sites in the Diocese of Vitoria.

“Les modèles dans l’art du Moyen Âge (XIIe-XVe siècles)”, dir. L. Terrier Aliferis, D. Borlée

Les modèles dans l’art du Moyen Âge.jpg

Informations pratiques :

Les modèles dans l’art du Moyen Âge (XIIe-XVe siècles), dir. L. Terrier Aliferis, D. Borlée, Turnhout, Brepols, 2018 (Les Études du RILMA, 10). 284 p., 150 b/w ill. + 54 colour ill., 210 x 297 mm. ISBN: 978-2-503-57802-6. Prix : 90 euros.

Ce volume réunit, pour la première fois sur le sujet, un ensemble de contributions qui abordent les diverses problématiques liées à l’usage des modèles dans la création artistique à l’époque gothique. Les modalités de la circulation des hommes et des œuvres en Occident entre le XIIe et le XVe siècle sont examinées à travers cinq axes : les carnets de modèles, la nature des modèles servant à la transmission (dessins, moulages ou gravures) , la notion d’auctoritas, la sélection des modèles et les interactions entre les différentes techniques (orfèvrerie, sculpture et peinture). Les auteurs se fondent, dans des études de cas très concrètes, sur des exemples précis et variés touchant à différents domaines artistiques et, de la sorte, permettent au lecteur d’appréhender au plus près une telle pratique, souvent pressentie, mais qu’il reste malgré tout assez difficile de saisir au sein de la production artistique médiévale.

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Lecture: Annual Corpus of Romanesque Sculpture in Britain & Ireland lecture (Courtauld Institute, 24/04/18, 5:30pm)

Prof-Malcolm-Thurlby

Lecture:  ‘English Romanesque Sculpture in its Architectural Context’, by Professor Malcolm Thurlby FSA

Annual Corpus of Romanesque Sculpture in Britain & Ireland lecture

Where: Kenneth Clark Lecture Theatre, Courtauld Institute

Date: 24th April 2018, 5:30pm

This year’s CRSBI annual public lecture, delivered by Professor Malcolm Thurlby of York University, Toronto, Canada, will consider English Romanesque sculpture in the context of its architectural matrix, focusing on specific carved elements such as portals, tympana, capitals, and figural reliefs. It will set out to demonstrate the fundamental importance of forensic visual analysis to our understanding of a Romanesque building and its ornament, most notably where documentary information is lacking. The diagnostic potential of a range of material evidence – painted decoration, the use of stucco, the work of 19th-century copyists – will be seen to support proposed dating sequences at a number of monuments, including the cathedrals of Worcester, Hereford and Ely and the abbey at Malmesbury, and at lesser churches such as Knook in Wiltshire, Leigh in Worcestershire, Milborne Port in Somerset, and Kirkburn in Yorkshire.

Malcolm Thurlby studied art history at the University of East Anglia. His PhD thesis on Transitional Sculpture in England 1150—1240 (1976) was supervised by Eric Fernie. He teaches art and architectural history at York University, Toronto. His research focuses on Romanesque and Gothic architecture and sculpture, and on 19th- and early 20th-century architecture in Canada. He concurs with Bishop John Medley (1804-92) that ‘some knowledge of Church Architecture ought, surely, to be a part of every liberal education.’

Entry to the lecture is free and open to all. The Courtauld would like all those wishing to attend to register beforehand: https://www.eventbrite.co.uk/e/english-romanesque-sculpture-in-its-architectural-context-tickets-44591422144

The Courtauld lecture theatre is accessed via the doors opposite the main gallery entrance. Ask at the reception desk on arrival for further directions.

For more information click here.

CFP: (Re-)Forming Sculpture (Leeds, 26-27 Jun 18)

350px-Perrecy-les-Forges_01University of Leeds and The Hepworth Wakefield, June 26 – 27, 2018
Deadline: Mar 16, 2018

Call for Papers for the Association for Art History’s 2-day Summer Symposium organised by the Doctoral and Early Career Research Network.

Keynote Speakers:

Martina Droth, Deputy Director of Research, Exhibitions, and Publications | Curator of Sculpture, Yale Center for British Art

Dr Rebecca Wade, Assistant Curator (Sculpture), Leeds Museums and Galleries, based at the Henry Moore Institute

Paper proposal deadline: 16 March 2018

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CONF: New Directions in the Study of Medieval Sculpture (Leeds, 16-17 Mar 18)

Henry Moore Institute, Leeds, UK, March 16 – 17, 2018

NEW DIRECTIONS IN THE STUDY OF MEDIEVAL SCULPTURE

REGISTRATION NOW OPEN
sculpt
The focus on the materiality of medieval sculpture has proven crucial to its study and has expanded our historical understanding of sculpture itself. Whether monumental relief sculpture in stone, wooden sculptures in the round, sculpted altarpieces, ivory plaques or enamelled reliquaries, the possibilities for research on medieval sculpture now extend far beyond the established canon.
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CRSBI lecture at Cardiff Archaeological Society, 19 October 2017 | CRSBI Training Session, Llandlaff Cathedral, 20 October 2017

Lecture: The Corpus of Romanesque Sculpture in Britain and Ireland: Achievements and Aspirations, Dr Ron Baxter FSA and Dr David Robinson FSA, Main Building, Cardiff University, Park Place, Cardiff CF10 3AT, Thursday 19 October 2017, 7.15pm

This lecture will review CRSBI’s achievements to date, and outline aspirations for Wales, looking at Romanesque sculpture from across the country.

Training Session: The following Friday, 20 October, Ron Baxter and David Robinson will be running a training session at Llandlaff Cathedral, from 10.00am to 3.00pm. The day is open to all who may be interested in becoming a fieldworker for the Corpus, or in simply finding out more about our work.

Dr Ron Baxter is the Research Director of CRSBI

Dr David Robinson is an independent historian and writer