Tag Archives: wood

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


Conference: Choir stalls and their workshops (Greifswald, 23-26 June 2016)

IMG_2250 (1)Choir stalls were not only simple seating for the priests and monks. With their highly complex imaging systems they were also one of the most important and complex artistic tasks in medieval cathedrals, monastic churches, and even parishes.

In recent years, research has focused primarily on iconographic research and formal and stylistic analysis, as has the research of Misericordia International. There are very few studies dedicated to the workshops and their working conditions. Therefore this year the Misericordia International conference in Greifswald will deal with the workshop context of the choir stalls for the first time. In addition to questions about substantive and economic mechanisms of art production the conference will deal with basic knowledge craftsmanship such as the structure studies. It also examines the use of drawings and models in the production of choir stalls.

The venue Greifswald is chosen wisely. North Germany has a rich “choir landscape” whose research is a rewarding task. Nevertheless, despite work by relevant scientists that wealth is not well known, let alone scientifically. The colloquium will thus stimulate a reinterpretation of the liturgical furniture and provide new impulses.



23. Juni 2016

12.45 Registration

13.00 Frédéric Billet, President of Misericordia International (Sorbonne Paris IV): Welcome

13.10 Gerhard Weilandt (Universität Greifswald): Introduction

Section I
Workshop practices

13.20 Thomas Eißing (University Bamberg): Science of Joining structures as knowledge reservoir for workshop practices? A methodological introduction

14.00 Anja Seliger (Cluster of Excellence Image Knowledge Gestaltung Berlin): To get an idea -Visualization as a starting point in the manufacturing process

14.40 Pause

14.50 Angela Glover (University of Toronto): Module as Model for Early Modern Choir Stalls

15.30 Kristiane Lemé-Hébuterne (Amiens): Big seats for fat Benedictines, small ones for slender Cistercians? – Some statistics on the size

16.10 Pause

Section II
16th- and early 17th-century choir stalls – Tradition or restart?

16.25 Volker Dietzel (Dresden): Berufsbezeichnungen und Werkzeugnamen der Tischler, Schreiner und Kistler

17. 05 Ulrich Knapp (Leonberg): The Choir stalls of Salem Cistercian Monastery Church as testimony of liturgical and economical reforms (1588 till 1593)

17.45 Jörg Lampe (Academy of Science Göttingen): The choir stalls of the monasteries of Pöhlde and St. Alexandri in Einbeck – Observations on their time of origin from an epigraphical and historical point of

18.25 Pause

19.00 Abendvortrag
Dorothee Heim (Berlin): The woodcarver Rodrigo Alemán. An international acting choir stalls maker and businessman in Spain about 1500.

20.15 Get-together

24. Juni 2016

09.30 Begrüßung

Sektion III
Choir stalls made of stone – A forgotten furniture

10.00 Jörg Widmaier (University Tübingen): The stone bench of Burs – Gotland’s masonry in context and their connections to the main land

10.40 Erika Loic (University Harvard): Liturgical Activation of Master
Mateo’s Stone Choir in Santiago de Compostela

11.20 Pause

11.40 James Alexander Cameron (The Courtauld Institute of Art, London): Microarchitectural reflexivity in the design of sedilia and choir stalls

Section IV
Authorshift and groups of work – Case studies

12.20 Willy Piron (Radboud University, Nijmegen): The bilobate misericords of the Lower-Rhine area: a local phenomenon?

13.00 Mittagspause

14.20 Christel Theunissen (Radboud University Nijmegen): Jan Borchman and his fellow craftsmen. The creation of choir stalls in the Low Countries

15.00 Barbara Spanjol-Pandelo (University of Rijeka): Matteo Moronzon – an artist or a project manager of a woodcarving workshop?

15.40 Pause

16.00 Detlef Witt (Greifswald): Die Wangen der Anklamer Chorgestühle

16.40 Kaja von Cossart (Drechow): The choir and other 13th century furniture in the Cistercian Monastery Doberan

17.20 Final Discussion

18.30 General Meeting of Misericordia International

20.00 Get-together

Samstag, 25. Juni 2016

Ganztagesexkursion (Bus)
35 Euro Fahr- und Eintrittskosten
Treffpunkt: 8.00 Uhr Bahnhofsvorplatz

Bad Doberan, Münster
Retschow, Dorfkirche
Rostock, Kulturhistorisches Museum Heiligkreuz und Universitätskirche
Ribnitz-Damgarten, St. Klarenkloster

Sonntag, 26. Juni 2016

Halbtagsexkursion nach Stralsund (Bahn)
12 Euro Fahr- und Eintrittskosten
Treffpunkt: 9.00 Uhr Bahnhof Greifswald

Wir werden die Stadt Stralsund zu Fuß erkunden. Bitte berücksichtigen Sie dies bei der Wahl ihres Schuhwerkes und der Kleidung.

St. Nikolaikirche
St. Jakobikirche (Depot)
Kulturhistorisches Museum Stralsund (ehemals St. Katharinenkloster)

Ende der Tagung gegen 15 Uhr.

Official page:


Call for Papers: German Wood: Material and Metaphor from Forest to Fireside and beyond (Kansas City 2014)

Call for Papers:
German Wood: Material and Metaphor from Forest to Fireside and Beyond
German Studies Association Thirty-Eighth Annual Conference
Kansas City, Missouri, 18-21 September 2014
Deadline: February 7, 2014

gärtner_1847“The German Forest has moved into the German living room,” wrote
liberal politician Friedrich Naumann in response to a 1906 exhibition of modern wooden furniture designed by the progressive Munich architect
Richard Riemerschmid and fabricated with the help of machines. What
might sound at first like a humorous (or even ironic) comment on the
overabundance of natural wood visible in Riemerschmid’s modern “machine furniture,” was actually freighted with economic, social, and cultural weight.  For the material product of the “German Forest” – wood – was not only an important resource and major export of the lately established German nation, it had also constituted the utilitarian backbone of German domestic life for centuries; and its cultural resonance was rooted in the legendary Battle of the Teutoborg Forest, when Germanic tribes, emerging from the trees (as the story goes), had vanquished the Roman legions of Ceasar Augustus.  But like the account of the Teuton victory – part history, part myth – the notion of a “German Forest,” as historian Jeffrey K. Wilson has recently shown, was a cultural construct: an abstract (though powerful) idea – not a concrete thing.  The German lands enclosed a variety of wooded territories, each distinct in its topography and biology.  But there was, in actuality, no single “German Forest”; the concept had been cobbled together – like the German nation itself – from various regional examples and traditions to form an ideal or myth of unity, ripe for public figures (like Naumann) to exploit.

This interdisciplinary, diachronic panel will probe the paradox of abstract and concrete embodied by the entry of the “German Forest” into the “German living room.”  Its aim is to reveal and untangle the interlaced complexities inherent in wood as indigenous material,
utilitarian product, and cultural symbol.  Proposals are welcome that consider the significance of “German wood” from any period and in any manifestation, in its dual role as object and concept.  Topics might examine the role that German wood has played in confrontations between: past and future; the domestic and the wild; authenticity and artificiality; the living and the inert or “wooden”; naturalism and folklore; history and myth; the utilitarian and the symbolic; the prosaic and the poetic; the everyday and the marvelous; the vernacular
and the cosmopolitan; science and spirituality.  Historiographical and theoretical investigations, as well as specific case studies, will be considered.  Proposals are encouraged that move beyond the reductive nationalist rhetoric of “the German Forest” to problematize images of Germans and their trees from the Teutons to today.

Please email a C.V. and proposal of no more than 400 words by Friday,
February 7, 2014 to:

Freyja Hartzell
Post-Doctoral Fellow in Material and Visual Culture, Parsons The New
School for Design