Looking at the Trecento through the lens of current global paradigms and concerns in historical and art historical studies might seem hazardous, or even paradoxical and provocative at best. Very few other labels have the power to evoke both the glories, achievements and limitations of traditional ‘Western’, and namely Eurocentric, art history. As a matter of fact, using the Italian word Trecento to mean the ‘Fourteenth Century’ in the visual arts, music and potentially any area of human endeavour adumbrates a clear hierarchy–with Italy at its top. It is meaningful, and perhaps no coincidence, that the term Trecento came into use in English in the same years that mark the tumultuous expansion of the new discipline of art history in the late nineteenth and early twentieth centuries and its usage has grown exponentially ever since. While much has been done in recent decades to broaden our understanding of the period both geographically and philosophically, the Trecento remains primarily the century of Giotto and of the great Tuscan painters and sculptors. At this time of building national ‘walls’, it seems particularly appropriate to think that the seminal and transformative character of the Trecento owes much to artistic and cultural exchanges, movement of artists and patrons, circulation of models and ideas across Italy, Europe, the Mediterranean and beyond. Our aim is to bring into conversation recent research on these issues.
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.
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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: email@example.com.
In the spirit of the tradition forged by the late Andrew Ladis and his colleagues at the University of Georgia, an international congress of Trecento specialists will congregate at Tulane University to share their research formally and informally in New Orleans, LA.
This call for papers invites scholars of all ages and stages to submit proposals for 20-minute discussions of specific art historical problems, issues, and ideas that focus on the arts of Italy during “the long fourteenth century” (late Dugento through early Quattrocento). MA students must provide a letter of support from a professor with whom they have taken a graduate level course.
Please submit paper proposal (500-word limit), and a CV by February 20, 2016 to: LadisTrecentoConference@gmail.com
The keynote speaker at the Tulane conference will be Marvin Trachtenberg, Edith Kitzmiller Professor of the History of Fine Arts at the Institute of Fine Arts, New York University.
Thanks to the generous support of the Kress Foundation and other benefactors, we will not be charging any registration fees for this conference. Participants will be responsible for securing their own transportation and lodgings.
More information, including options for lodgings, will be posted soon on Facebook (https://www.facebook.com/LadisTrecentoConference/) as well as on a Tulane website.
Conference registration will be on Eventbrite beginning May 1
This will be the inaugural Andrew Ladis Memorial Trecento Conference and we are very excited! The plan is for the conference to be held every other year, with a new venue and host institution each time. The 2nd conference will be hosted by the University of Houston in Houston, TX, in fall 2018.
Announcing that No. 35 of PREDELLA is online at
EDITORIALE / EDITORIAL
Gerardo de Simone, Emanuele Pellegrini2001-2015: Odissea di distruzione
MONOGRAFIA / MONOGRAPH
The Survival of the Trecento in the Fifteenth Century
Trecento Receptions in Early Renaissance Paduan Art. The Ovetari Chapel and its Models: Revival or Persistence?
Paolo di Simone
«Gente di ferro e di valore armata».Postille al tema degli Uomini Illustri, e qualche riflessione marginale sulla pittura profana tra Medioevo e Rinascimento
Giovanni da Modena and the Relaunch of the Vita-panel in the Quattrocento
Mary Magdalen and the Imagery of Redemption: Reception and Revival in Fifteenth-Century Tyrol
Gerardo de Simone
The use of Trecento sources in Antoniazzo Romano and Lorenzo da Viterbo
Sano di Pietro: un’ennesima replica dell’Assunta di Camollia di Simone Martini
MISCELLANEA / MISCELLANY
FIGURE / FIGURES
El Greco at the Ophthalmologist’s
The Blind Spots of Art History: How Wild Art Came to Be – and Be Ignored
Books, Windows and Walls: exploring the Pre-Raphaelite Movement second phase influence on Frederick James Shields’ decorative works
La collezione Layard ?nel catalogo dattiloscritto 1896
«Un’immane critica delle confuse perifrasi». Introduzione a Carl Einstein critico d’arte (Parte II)
CORNICE / FRAME
The level of our defeat:? the Italian Memorial at Auschwitz and the history of art
De-tutela, idee e pareri? sui beni culturali e la loro difesa nell’Italia del Verybello
Per conoscere Marisa Volpi
Il Pollaiolo bruciato.? La Madonna col Bambino di Piero? del Pollaiolo nel Musée des Beaux-Arts di Strasburgo
Gigetta Dalli Regoli
Teste. Un’aggiunta ai disegni dall’antico: il ruolo di Lorenzo di Credi
Paolo di Simone
L’ambiguità del significante.? A proposito di alcune recenti letture della Tempesta, e di una possibile “fonte visiva” di Giorgione
Maria Barbara Guerrieri Borsoi
Nuovi documenti su Pietro da Cortona e il rinnovamento della cappella della Santissima Concezione?in San Lorenzo in Damaso
L’attività di Giacinto Fabbroni nel contado fiorentino: l’Impruneta e dintorni
IN MOSTRA / EXHIBITIONS
Gigetta Dalli Regoli
Antonio e Piero del Pollaiolo. “Nell’argento e nell’oro, in pittura e nel bronzo…”
Carlo Dolci (1616-1686)
IN LIBRERIA / BOOKS
I Petrignani di Amelia.?Fasti, committenze, collezioni tra Roma e l’Umbria
Vers une Europe Latine. Acteurs et enjeux des échanges culturels entre la France et l’Italie fasciste
AHRC COLLABORATIVE DOCTORAL AWARD
Applications are invited under the Arts & Humanities Research Council Collaborative Doctoral Awards scheme for the project ‘The collection, display and reception of fourteenth- and fifteenth-century Sienese paintings in Britain, 1850-1950’.
The successful applicant will be supervised at the Courtauld Institute by Dr Joanna Cannon, and at the National Gallery by Dr Caroline Campbell. A high degree of preparedness for independent research is expected, including the ability to develop the project and the necessary languages and research skills to carry it out. Applicants will have a master’s degree in Art History or an appropriate related discipline and will be familiar with the study of Italian art of the Trecento and/or Quattrocento, or of British later nineteenth/early twentieth-century interest in Italian Art.
The award is for three years beginning in September 2014 and covers fees and maintenance. AHRC award eligibility requires the applicant to be resident in the UK for the preceding three years, with no restrictions on the time they may remain in the UK. EU students are eligible for a full award if they have been resident in the UK for the three years prior to the start of the award.
Please read full details on the project (including eligibility requirements) here
If you have any queries about the application process contact firstname.lastname@example.org.
Closing date for applications: 20 June 2014
Interviews are provisionally scheduled for 7 July
Starting date: 29 September 2014