Maschinen und Manuskripte

CONFERENCE: Maschinen und Manuskripte. Forschung mit Schrift- quellen im digitalen Zeitalter, Darmstadt, Technische Universität, 22. – 23. Februar 2016.

Am 22. und 23. Februar 2016 wird die Technische Universität Darmstadt im Georg Christoph Lichtenberg-Haus eine internationale Konferenz zur Forschung mit Schriftquellen im digitalen Zeitalter ausrichten. Die dritte Tagung wird die Reihe Maschinen und Manuskripte abschließen, die im Rahmen des BMBF-geförderten Projektes eCodicology veranstaltet wurde.

Wichtige Schwerpunkte der Veranstaltung werden die Nachnutzung von elektronischen Katalogen und Digitalisaten, die quantitative und komparative Kodikologie, Layoutstudien und bibliometrische Verfahren sowie Datenverarbeitung und Visualisierung sein. Ziel der Tagung ist es, einen offenen Dialog zwischen traditionell und digital Forschenden zu ermöglichen und gemeinsam auszuloten, wo Möglichkeiten und Grenzen digitaler Forschung an Schriftquellen liegen.

Programm

Montag, 22. Februar 2016
Sektion I: Digitalisierung, Katalogisierung, Archivierung
* Michael Embach (Stadtbibliothek/Stadtarchiv Trier), Von der historischen Originalüberlieferung zur Digitalisierung – Chancen und Risiken
* Karl Lenger (Universitätsbibliothek Graz), Steirische Kultur digital im 3. Jahrtausend – ein institutionsunabhängiges Kulturprojekt!
* Robert Giel (Staatsbibliothek zu Berlin), Von Manuscripta Mediaevalia zu einem neuen Handschriftenportal.

Sektion II: Typografie, Buchgestaltung, Layoutstudien
* Christoph Reske (Universität Mainz), Mikroskopischer Vergleich von Drucktypen der Inkunabelzeit
* Anna Boroffka (Universität Hamburg), Zwischen Buchdruck und Bilderhandschrift – Das Manuskriptlayout des Codex Florentinus als transkultureller Aushandlungsraum
* Nanette Rißler-Pipka (Universität Augsburg), Image and Text in Numbers: Layout Analysis of Hispanic Cultural Magazines in Modernity
* Gábor Hosszú (Technische und Wirtschaftswissenschaftliche Universität Budapest), Phenetic Approach to Script Evolution.

Keynote: Johan Oosterman (Universität Nijmegen), Manuscript Hunt in Digital Times. Methodological considerations, and some remarkable finds.

Dienstag, 23. Februar 2016
Sektion III: Quantitative Kodikologie, Bibliometrie, Komparative Kodikologie
* Tjamke Snijders (Universität Gent), Quantifying hagiographical rewrites: An approach based on word chains
* Oliver Duntze (Staatsbibliothek zu Berlin), Von Typen, Bäumen und Netzen – Ansätze zu einer quantifizierenden Typographiegeschichte
* Andrew Irving (University of Notre Dame), Towards an Archaeology of Beneventan Gospel Books: A Quantitative Approach.

Führung durch die Abteilung für Handschriften und historische Drucke der Universitäts- und Landesbibliothek Darmstadt.

Sektion IV: Datenverarbeitung (Metadaten, Schrift- und Bildanalyse, Visualisierung)
* Hannah Busch (Universität Trier), Oliver Schmid (Technische Universität Darmstadt), Swati Chandna (Karlsruher Institut für Technologie), eCodicology – Algorithms for the Automatic Tagging of Medieval Manuscripts
* Torsten Schaßan (Herzog August Bibliothek Wolfenbüttel), Wo bitte geht’s hier zur Schriftklassifikation? Per Taxonomie und auf anderen Wegen
* Matthew James Driscoll (Universität Kopenhagen), The legendary legacy: Crunching 600 years of saga manuscripts
* Manfred Thaller (Universität zu Köln), Müssen kodikologische Metadaten widerspruchsfrei sein?

Mehr Informationen

Marco Rustici da Firenze a Gerusalemme

Rustici

NEWS: Un orafo italiano in pellegrinaggio. Marco Rustici da Firenze a Gerusalemme (1448-1453). Presentazione della riproduzione anastatica del Codice Rustici, Sala S. Francesco, Custodia di Terra Santa, Convento di San Salvatore, Gerusalemme (New Gate), giovedì 11 Febbraio 2016, ore 16.30-17.30. L’ingresso è libero sino a esaurimento posti.

Programma

* Saluti di p. Lionel Goh O.F.M. (Direttore della Biblioteca Generale della Custodia di Terra Santa).

* Prof. Eugenio Alliata O.F.M. (Studium Biblicum Franciscanum), Difficoltà e problemi del viaggio in Terra Santa nel sec. XV.

* Prof. Edoardo Barbieri (Università Cattolica di Milano), Il viaggio di Marco di Bartolomeo Rustici verso Gerusalemme.

Per l’occasione saranno esposti alcuni antici esemplari di Itinera ad loca sancta posseduti dalla Biblioteca della Custodia della Terra Santa.

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Senior Lecturer/Reader/Professor in Art History

JOB: Senior Lecturer/Reader/Professor in Art History, University of East Anglia, School of Art, Media and American Studies. Permanent and Full time. Salary: £47,801 to £55,389 per annum. Ref: ATR1275.

We are seeking to recruit a Senior Lecturer/Reader/Professor in Art History in any one of the following three areas:

* Art History 330-1400;

* Art History 1400-1700;

* Art History 1800-1900.

The successful candidate will have a PhD (or equivalent qualification or experience) in a relevant subject area and an expertise in museum studies or comparable professional experience of museums would also be welcome but it is not essential.

You will act as a lead for your subject area upon arrival and as such will provide vision and direction in the area of Art History. You will be expected to take on the role of Head of School at some point in the future.

Closing date: 12 noon on 12 February 2016. This full time indefinite post is available from 1 September 2016.

Further information

The Performative Book

Bloomington

EXHIBITION: The Performative Book from Medieval Europe to the Americas, Lily Library, 200 E Seventh Street, Bloomington, Indiana, 14 January – 4 May 2016.

The Performative Book celebrates the medieval book, the transition to print that fostered the exploration of the Americas, and modern works that rediscover medieval texts as sources of artistic inspiration.

The manuscripts and books on display were made to guide the performance of worship and music, to show the results of artistic performance, to express medieval visions of individual identity, and to inform a new view of the world through images such as maps.

The exhibition also includes modern books inspired by the study of medieval and early modern literature. Overall, the exhibition testifies to the performative power of books to shape the lives of readers and listeners: books were used to lay claim to divine grace, establish interpersonal bonds, defend legal rights, or serve as markers of power and prestige.

A program of public events to accompany the exhibition includes several lectures, student workshops, a concert, and several films.

Further information

Illuminated Charters

CALL FOR PAPERS – Illuminated Charters. From the Margins of two Disciplines to the Core of Digital Humanities, International Conference, Wien, 12 – 14 September 2016.

Among the entire production of acts throughout the Middle Ages, illuminated charters, i. e. legal documents featuring drawn or painted decoration, never had more but a marginal share of the entire production of acts throughout the Middle Ages, yet through their sumptuous external make-up they were undoubtedly adding to the solemnity and publicity of the deeds. In spite of their outstanding and precious character, decidedly remote from the everyday business of issuing charters in princely, ecclesiastic and private chanceries, they are a diplomatic phenomenon common to the whole of Europe.

Considering their ambiguous status as a legal document and a piece of art at the same time, their study challenges skilled historians and diplomatists and able art historians alike. In contrast to illuminated manuscripts whose date can often only roughly be determined, they are usually bearing their precise date of issue, thus offering to experts of book painting extraordinary possibilities of dating and localising artistic production of sometimes remarkable quality.

Whereas the esthetic and decorative aspects of illuminated charters ensured these documents at least from the 19th century onwards an overproportioned appearance in exhibition catalogues, profound scholarly interest in the topic from the viewpoint of history and diplomatic as well as art history remained rather weak or restricted to certain types of relevant sources such as collective indulgences or grants of arms.

Only during the last years research has become more conscious of the richness and scholarly potential of the topic and the impact of more detailed and broad-scale investigations. Attention was paid to the representative function of decorated charters and the (mutual) engagement of issuer and recipient/ beneficiary/commissioner of the act in the process of decoration. On the one hand, any attempt to describe the relation of text and image in order to determine the performative impact of illuminated charters in general remains provisional, due to the wide temporal and regional dissemination of relevant stocks which still require deep-digging exploration of archival holdings and collections of libraries and museums wordwide.

With, on the other hand, an ever increasing number of online resources provided by archives and consequently improved research tools as well as new fields of research, studies into illuminated charters prove to be a rewarding topic for the whole range of the Digital Humanities and Digital Diplomatic research area. The use of modern information technologies for structured data creation and archival storage helps to maintain consistency and enables linking between data resources and user defined visualization. Building upon digital tools this aim can be achieved in collaborative virtual research environments.

The forthcoming conference, organised within the project Illuminated Charters as Gesamtkunstwerk (here), funded by the Austrian Science Fund FWF (P 26706) and run at the Institute for Medieval Research of the Austrian Academy of Sciences and the Centre for Information Modeling at the University of Graz, aims to take serious the variety of the topic, to bring together the multitude of scholarly attitudes towards illuminated charters and to explore the range of methods applied for their investigation. It is settled at the intersection of diplomatic, art history and Digital Humanities.

All relevant paper proposals are welcome, but special focusses are expected to be on:
* The representative, commemorative and performative function of illuminated charters
* The involvement of issuer and recipient into the process of drawing up and decorating the acts, specific from case to case
* Illuminated charters emanating from the papal chanceries or from the environment of the Curia (e.g. collective indulgences) or grants of arms from the imperial chancery as mass phenomena
* The application of pattern recognition tools for automatic queries of illuminated charters in databases
* New (statistical) approaches towards the temporal and regional distribution of different types of decorated acts
* Signs of authentication and graphic symbols (esp. notarial signs) displayed by charters as an artistic problem
* The design of (archival) databases of illuminated charters and similar objects.

Please send an abstract of no more than 300 words and a short CV (of five lines max.) with the reference “paper conference illuminated charters”. Travel and accommodation costs will be reimbursed to speakers by the organisers. The conference languages are German and English. The admission of papers in other languages is up to the organisers. Papers should not exceed 30 minutes in length.

Deadline: 30 March 2016.

Source: H-ArtHist

Traversing the Globe through Illuminated MSS

Getty

EXHIBITION: Traversing the Globe through Illuminated Manuscripts, Los Angeles, The Getty Center, 26 January – 26 June 2016.

In the premodern era, land and sea routes connected the remarkably mobile peoples of Europe, Africa, and Asia, many of whom were far more aware of the world beyond their doorsteps than one might realize.

This exhibition features illuminated manuscripts and painted book arts from the 9th through the 17th century that bring to life in stunning ways the real and imagined places that one encounters on their pages.

These highly prized objects allow us to glimpse, admire, and study a world gone by, as well as its peoples, different belief systems, and an interconnected global history of human thought and ideas about art.

The exhibition is drawn primarily from the Museum’s collection, augmented with several generous and important loans from the Los Angeles County Museum of Art, the Norton Simon Museum, the Huntington Library, and the Charles E. Young Research Library at UCLA.

This exhibition is presented in two parts. The pages of the manuscripts will be turned to reveal further treasures on April 12, 2016.

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New Developments in the Study of Print

CONFERENCE - Placing Prints: New Developments in the Study of Print, 1400-1800, The Courtauld Institute of Art, London, 12 – 13 February 2016. In collaboration with the journal Print Quarterly. Organised by Naomi Lebens, Tatiana Bissolati, Bryony Bartlett-Rawlings & Chloe Gilling.

Traditionally, the history of printmaking has fallen in the space between art history and the history of the book. Often ‘reproductive’ and multiple in nature, prints have long been marginalized in art historical scholarship in favour of the traditional ‘high’ arts.

The inherent complexities in the manufacture and sale of print, often involving multi-faceted networks of specialist craftsmen, artists, publishers and sellers, has also led to much confusion. Not knowing how prints are made has affected our ability to understand the medium and its aesthetic qualities.

However, recent scholarship has opened up new avenues for placing prints in Renaissance and Early Modern Europe. From the techniques applied in the making of prints to the individuals involved in their production, distribution and use, current research is continuing to shape our understanding of this complex field.

PROGRAMME

Friday 12 February 2016, at 9.00

OPENING KEYNOTE
Antony Griffiths (Former Keeper of the Print Room, British Museum and Co-Founder of Print Quarterly), Changing Approaches to the History of the Print.

PANEL 1: THEORY
Chair: Sheila McTighe (The Courtauld Institute of Art)
* Barbara Stoltz (Philipps-Universität Marburg), Theory of Printmaking in the Early Modern Age
* Naoko Takahatake (LACMA, Los Angeles), Carlo Cesare Malvasia’s Felsina Pittrice and the Early Catalogue of Prints
* Ben Thomas (University of Kent), Poussin and the Theory of Hatching.

PANEL 2: CIRCULATION
Chair: Mark McDonald (The Metropolitan Museum of Art)
* Stephanie Porras (Tulane University), Going Viral ‘St. Michael the Archangel’: Spiritual, Visual and Material Translations from Antwerp to Lima
* Casey K. Lee (Queen’s University, Canada), Inspiration Integrated: The Work of Adrien van Nieulandt (1586-1658)
* Lorenzo Fatticcioni (Scuola Normale Superiore of Pisa), The Transmission of the Sculptural Canon: Copies, Derivations and the Circulation of the ‘Virtual Museum’ of François Perrier’s Segmenta Signorum et Statuarum.

PANEL 3: COLOUR
Chair: Martin Clayton (Royal Collection Trust)
* Elizabeth Savage (John Rylands Research Institute, University of Manchester), ‘Whitewashing’ the Early Modern Print
* Ad Stijnman (Herzog August Library, Wolfenbüttel/Herzog Anton Ulrich-Museum, Braunschweig), Not for the Feeble of Mind: Colour Printed Illustrations in European Medical Literature 1500-1850.

PANEL 4: APPROPRIATION AND ADAPTATION
Chair: Guido Rebecchini (The Courtauld Institute of Art)
* Jamie Gabbarelli (National Gallery of Art, Washington, D.C.), Tales Retold: Renaissance Images on Paper, Maiolica, and Bronze
* Ursula Weekes (The Courtauld Institute of Art), The Impact of European Engravings at the Mughal Court in India during the Late 16th and early 17th Centuries
* João R. Figueiredo (Universidade de Lisboa), Guido Reni amongst the Flemish and German: The Role of Northern European Prints in his Art.

PANEL 5: PRINT AND DIGITAL HUMANITIES
Chair: Ben Thomas (University of Kent)
* Silvia Urbini (Fondazione Giorgio Cini, Venice), Census of the Italian Renaissance Woodcuts, a presentation prepared by Laura Aldovini, David Landau, and Silvia Urbini
* Stéphane Roy (Carleton University), Looking at Print Advertisements in 18th-Century France: A Digital Initiative.

Saturday 13 February 2016, at 9.00

PANEL 6: PRINT PROCESSES (Lecture Theatre)
Chair: Stephanie Buck (Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden)
* Nikki Otten (University of Minnesota), Acid Test: The Etching Process and Imagination in Francisco Goya’s Los Caprichos
* Jennifer Chuong (Harvard University), Engraving’s Paradoxical Grounds: Print and Colonial Settlement in the Eighteenth-Century Transatlantic World
* Jonas Beyer (Freelance Curator based at Hamburger Kunsthalle), The Value of Unfinished Prints.

PANEL 7: FINDING A PLACE (Research Forum)
Chair: Naomi Lebens (The Courtauld Institute of Art)
* Catherine McCormack (University College London), Printing the Underside: The ‘Domine Quo Vadis?’: A Footprint Stone in Early Modern Rome
* Lizzie Marx (University of Cambridge), ‘Play, Women & Wine Makes a Man Laugh till he Dies of it’: A Pack of Proverb Playing Cards in English, French and Italian, London, c. 1737
* Felicity Myrone (The British Library), Placing Prints at the British Library.

PANEL 8: REPRODUCTION (Lecture Theatre)
Chair: Edward Wouk (University of Manchester)
* Anne Bloemacher, (Westfälische Wilhelms-Universität Münster), Multiplied Madonnas – Strategies of Commercialising Raphael in Print
* Simon Turner (compiler and editor for the New Hollstein-series), Spot the Difference: Rubens and the Reproductive Print
* Ann V. Gunn (University of St Andrews), Paul Sandby and Reproductive Printmaking: An Alternative Career?

PANEL 9: POLITICS AND PROPAGANDA (Research Forum)
Chair: Chloe Gilling (The Courtauld Institute of Art)
* John E. Moore (Smith College, Northampton), Giuseppe Vasi’s Panorama of Rome and the Politics of Topographical Printmaking
* Małgorzata Biłozór-Salwa (Print Room, University of Warsaw Library), The Use of Printed Maps in Political Propaganda: The Case Study of Jan Ziarnko’s Map of Paris (1616)
* Jesse Feiman (MIT, Cambridge, MA), The Empire Strikes Back: The Publication of Maximilian I’s Woodcuts at the Twilight of the Holy Roman Empire.

PANEL 10: DEDICATION AND AUDIENCE (Lecture Theatre)
Chair: Scott Nethersole (The Courtauld Institute of Art)
* Sheila McTighe (The Courtauld Institute of Art), Jacques Callot and Caricature in Print, c.1620
* Gwendoline de Mûelenaere (Université catholique de Louvain), Displaying Gift-Giving: Thesis Prints in the Spanish Netherlands
* Christina Faith Aube (Getty Research Institute, The Getty Center, Los Angeles), Networking through Prints: Two Etchings Dedicated to Michel de Marolles.

PANEL 11: ORNAMENT (Research Forum)
Chair: Bryony Bartlett-Rawlings (The Courtauld Institute of Art)
* Oliver G. Kik (Université catholique de Louvain), Marks of Art and Craftsmanship
* Michael J. Waters (Worcester College, University of Oxford), The Issue of Genre in Early Ornament and Architecture Prints
* Céline Ventura Teixeira (Aix-Marseille Université), Spreading Ornaments through the Iberian Peninsula: From Plantin to Pieter van Craesbeeck’s Print Work.

PANEL 12: MARKET AND COMMERCE (Lecture Theatre)
Chair: Femke Speelberg (The Metropolitan Museum of Art)
* Marjolein Leesberg (compiler and editor for the New Hollstein-series), Changing Views: The Antwerp De Jode Dynasty of Publishers, c. 1550- c.1675
* Rebecca Carnevali (Centre for Renaissance Study, Warwick University), Aldrovandi’s Workshop: Print and Book Production in Post- Tridentine Bologna
* James Baker (University of Sussex), Selling Fun: On the Business of Satirical Prints in Late-Georgian London.

PANEL 13: WORD AND IMAGE (Research Forum)
Chair: Tatiana Bissolati (The Courtauld Institute of Art)
* Małgorzata Łazicka (Print Room, University of Warsaw Library), Patriarchs, Jesters and Dancing Couples. The Relationship between Word and Image in 16th Century German Woodcuts
* Alexandra Kocsis (University of Kent), The Image(s) of the Learned Painter in Sixteenth- Century Reproductive Prints: Frans Floris and the Prints Published by Hieronymus Cock
* Tommaso Gorla (École des Hautes Études en Sciences Sociales, Paris), Printed Mnemotechiques of the New World: Diego Valadés’ ‘Rhetorica Christiana.

PANEL 14: USE AND COLLECTING (Lecture Theatre)
Chair: Barbara Furlotti (The Courtauld Institute of Art)
* Magdalena Herman (University of Warsaw), “Liber Denotus Imaginum” and other Print Albums from the Collection of Jan Ponetowski
* Joyce Zelen (Rijksmuseum, Amsterdam), Prints and Scissors
* Donato Esposito (Independent Scholar), Sir Joshua Reynolds (1723– 1792) as a Print Collector.

PANEL 15: PRINTS AND BOOKS (Research Forum)
Chair: Rachel Sloan (The Courtauld Gallery)
* Evelien de Wilde (Groeningemuseum, Bruges), Interdisciplinary Relations between Engravings by Three Bruges Masters and Other Forms of Art in Light of an Exhibition on the Librarian Colard Mansion
* Alexa A. Greist (Independent Scholar), Pictorial Instructions for Drawings: The Origins and Intentions of ‘Libri da Disegnare’ in Seventeenth-Century Italy
* Maria Avxentevskaya (Freie Universität, Berlin), Placing Prints in Stammbücher.

Registration deadline: 12 February 2016.

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Melancholy and Solitude

Melanconia

CALL FOR PAPERS: Melancholy and Solitude in the History of Ideas and Art History, Workshop, Elisabeth and Helmut Uhl Foundation, in South Tyrol, Buchnerhof (Südtirol), 05. – 09.10.2016.

A type of artist established himself in western culture once Marsilio Ficino took up Chapter XXX, I of the pseudo-Aristotelian Problems, where the creative figure is already described as manic and melancholic by his very nature.

Melancholy hence became the condition of genius, the dark shadow to the clarity of artistic production. The diagnosis of ‘melancholy’ was removed from clinical vocabulary in the course of the twentieth century and replaced by a fundamentally different conceptual apparatus.

No longer identified as the defining and formative characteristic of genius, it was instead reluctantly conceded to be a brief clouding of the mind described as a case ‘of’ melancholy. Yet the psychopathological concept of melancholy and its history remain central subjects of research in the humanities.

This is due in no small part to the pioneering work of Raymond Klibansky, Erwin Panofsky, and Fritz Saxl in Saturn and Melancholy, whose complex, fateful genesis and interdisciplinary orientation ensured it significant receptions on both sides of the Atlantic.

The interdisciplinary claim formulated by its subtitle, Studies in the History of Natural Philosophy, Religion, and Art, moreover suggests how pragmatically the book anticipates the potential of today’s loudly proclaimed buzzwords of inter-, infra-, or trans-disciplinary collaboration between various academic fields.

The claim is redeemed in the book’s four chapters: the first offering a conceptual history of melancholy in antiquity and in the Middle Ages; the second treating representations of the ancient god Saturn’s afterlife in visual as well as written evidence; the third discussing poetic melancholy in Neoplatonism; and the final interpreting Dürer’s famous copper engraving Melencolia I.

Engagement with Klibansky, Panofsky, and Saxl’s book appears rewarding today not only on account of its key position in the history of sciences, but also because a precise reading of Saturn and Melancholy has the potential to contribute to a new theoretical and methodological redefinition of the relation between the history of ideas and iconology-driven art history. The book thus enables more rigorous understandings of the relationship between historical objects and phenomena.

The field of these concerns should be addressed within a four-day research workshop. Researchers working in the disciplines addressed within Saturn and Melancholy are invited to give presentations of current projects and to discuss them within a group setting. In addition, texts within these fields will be together read and analyzed.

The central objective will be bringing together young career academics in the fields of intellectual history, the history of medicine, art history, literary, and religious studies as well as philosophy. Moreover, the selection of invited presenters will prioritize including experts from all fields of research touching upon the rich, multifaceted character of “Saturn and Melancholy”.

Possible topics include the following:
* Theories of iconology and the history of ideas
* Melancholy and solitude in psychology and medicine
* Melancholy and the stars: astrology and other forms of divination
* Melancholy and solitude as component of religious practice and experience
* Research on the concept of genius and conceptions of the artist
* Research in the history of emotions vis-à-vis melancholy and solitude.

Proposals may concern materials from all eras since antiquity. Case studies drawn from non-European cultures are also welcome, as are all topics related to visual and textual traditions, receptions, and their carriers.

Please send your proposal and an abridged CV both to Dominic Delarue and John Raimo. Workshop languages are English, French, and German.

Deadline: 28 February 2016. Modest travel allowances are possible.

Source: H-ArtHist

Publishing in the Renaissance

CALL FOR PAPERS: Publishing in the Renaissance. Minor and Academic Publishers, in Kunsttexte, Issue 2016.

Some major publishers dominated the publishing scene in the Renaissance, like Aldo Manuzio and his family in Venice, and the Giunti family in Florence. From early on however there were many minor publishers, often very engaged, but successful only for a few years. These were often intellectuals, who followed special interests in their publishing policy.

In Florence there was Anton Francesco Doni, member of the literary academy, who published his own works, but also those of his academy fellows, for example the lessons they presented in the Academy. His engagement did not lead to financial success and after a few years he had to stop.

In Venice Francesco Sansovino was a likeminded, who published his own works as well and those of his friends, and some literary editions. There are numerous examples of private engagement in printing.

We invite papers, which present in an exemplary way minor printers in the Renaissance (in Italy, France, Spain, Germany), concentrating on their formation, their printing policy, their outreach and influence.

A short note of interest would be welcome beforehand. Papers are welcome in German, English, French, Italian or Spanish. For more information about the open access online journal Kunsttexte and for the author guidelines please look at www.kunsttexte.de.

Please send inquiries and proposals to Angela Dressen and Susanne Gramatzki.

Deadline: 1 May 2016.

Source: H-ArtHist

The Romance of the Middle Ages

Romance

EXHIBITION: The Romance of the Middle Ages, Bodleian Library, Old Schools Quad, Catte Street, Oxford, 28 January – 13 May 2012.

The amazing variety of medieval romance continues to feed our imagination. This colourful exhibition reveals how its compelling stories have inspired writers and artists across the centuries from the early modern period (including Shakespeare, Ariosto and Cervantes); through medievalism in the eighteenth and nineteenth centuries (including Walter Scott, Edward Burne-Jones and William Morris); to contemporary versions and adaptations (including manuscripts and drafts by J.R.R. Tolkien, Philip Pullman and the Monty Python team).

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MMSDA 2016 in London & Cambridge

CALL FOR PAPERS: Medieval and Modern Manuscript Studies in the Digital Age (MMSDA 2016),  London/Cambridge, 2 – 6 May 2016.

We are very pleased to announce the sixth year of this course, funded by the Digital Scholarly Editions Initial Training Network (DiXiT), and run by DiXiT with the Institute of English Studies (London), the University of Cambridge, the Warburg Institute, and King’s College London. For the second time, the course will run in two parallel strands: one on medieval and the other on modern manuscripts.

The course is open to any arts and humanities doctoral students working with manuscripts. It involves five days of intensive training on the analysis, description and editing of medieval or modern manuscripts to be held jointly in Cambridge and London. Participants will receive a solid theoretical foundation and hands-on experience in cataloguing and editing manuscripts for both print and digital formats.

The first half of the course involves morning classes and then afternoon visits to libraries in Cambridge and London. Participants will view original manuscripts and gain practical experience in applying the morning’s themes to concrete examples. In the second half we will address the cataloguing and description of manuscripts in a digital format with particular emphasis on the Text Encoding Initiative (TEI). These sessions will also combine theoretical principles and practical experience and include supervised work on computers.

The course is free of charge but is open only to doctoral students (PhD or equivalent). It is aimed at those writing dissertations relating to medieval or modern manuscripts, especially those working on literature, art or history. Some bursaries will be available for travel and accommodation. There are fifteen vacancies each for the medieval and modern strands, and preference will be given to those considered by the selection panel likely to benefit most from the course. Eight need-based bursaries of up to £375/€500 will also be awarded to cover directly incurred costs of travel and accommodation.

Application Deadline: 22 February 2016.

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Il giovane Duccio e la formazione di Giotto

Duccio

LECTURE: Andrea De Marchi, Il giovane Duccio, un saggio di Struktiver Illusionismus e la formazione di Giotto, Kunsthistorisches Institut in Florenz – Max-Planck-Institut, Palazzo Grifoni Budini Gattai, Via dei Servi 51, Firenze, 16 febbraio 2016, ore 18:00.

Un rilievo sistematico dei resti di affreschi ducceschi nella cappella di San Gregorio in Santa Maria Novella, in origine affidata ai Laudesi, condotto insieme con Federica Corsini, ha permesso di ricostruire virtualmente la facies complessiva di una decorazione che univa l’illusione di finte architetture, in accordo con la qualificazione esterna laterizia della stessa basilica, e di finte stoffe a reticoli stellari, in un intarsio che aveva soprendenti analogie con la pala d’altare di Westminster Abbey.

Alla metà degli anni ottanta del Duecento il giovane Duccio in questi affreschi più ancora che nella Maestà ora agli Uffizi dialogava strettamente con la sfida illusionistica della pittura oltremontana, in anticipo sul cantiere della basilica superiore di San Francesco ad Assisi. Collegato è il problema della destinazione della grande Maestà, che interagiva puntualmente con queste pitture murali: nondimeno si può argomentare che tale destinazione fosse pensata come provvisoria, mentre il cantiere architettonico della navata era ancora in fieri, in un momento in cui il transetto destro funzionava pro tempore come ecclesia laicorum, cui si accedeva dalla prospicente porta con l’iscrizione che commemora la rifondazione ad opera del cardinale Latino Malabranca nel 1279.

Lo schema d’insieme, con due finte edicole ai lati della finestra chiuse en gâble, ospitanti probabilmente le figure di San Pietro martire e di San Domenico, pone la premessa per le cappelle giottesche in Santa Croce. Da questo punto di vista si può ripensare tutto il problema del rapporto iniziale che in quegli anni legò Duccio al giovane Giotto, riconsiderando in tale contesto la genesi di un nuovo sistema degli ornati e di un moderno concetto di Struktiver Illusionismus, il problema attributivo della Madonna col Bambino di Castelfiorentino e degli affreschi dei registri superiori della seconda campata della basilica assisiate.

Per saperne di più.