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CALL FOR PAPERS: Seeing and Hearing: Music and the Visual Arts in the Renaissance, Renaissance Society of America Annual Meeting (RSA), New York, 27-29 March 2014.

During the 15th and 16th centuries, both music and the visual arts enjoyed a flourishing period of innovation, discovery, diversity, and increased importance in civic ritual, religious ceremony and court culture. However, the relationship between these art forms is often under discussed.

This panel seeks papers that address the intersection of music and the visual arts, focusing on ways in which they inform and reflect one another. The panel will focus on images that appear in conjunction with music or in a musical context which are not necessarily images of musicians or performances.

Suggested topics include illustrated music manuscripts (ie laudario, choirbooks); personifications of music; visual descriptions of the role of music in civic or religious ceremonial; aspects of performance (ie religious or secular theatre, processions, etc); allegory;  interpretation of music and its meaning in contemporary society; the perception of music/musicians; decorated instruments; choirstalls; organ panels; carved or painted instruments; scholarly/religious debate about the role of music in church/society; venues for such representations, etc.

Papers from all disciplines will be considered.

Please submit 200 word proposals to Sarah Schell,  including a brief CV with name, email address, institutional affiliation, and title of paper.

 Deadline: 31 May 2013.

Source: H-ArtHist

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EXHIBITION: Une renaissance. L’art entre Flandre et Champagne 1150-1250, Musée de l’hôtel Sandelin (14 rue Carnot, 62500 Saint-Omer), du 5 avril au 30 juin 2013.

L’émergence d’un style nouveau
L’exposition du Musée de l’hôtel Sandelin réexamine les relations artistiques entre la région de la Meuse (autour de Liège) et la France du Nord et du Nord-Est. Ces relations ont abouti à l’émergence d’un art septentrional original marqué par l’inventivité romane, l’apport byzantin et la relecture de l’Antiquité. Généralement appelé « style 1200 », ce nouveau courant n’est ni roman, ni gothique. L’exposition démontre qu’il y eut au Moyen-Âge plusieurs «renaissances», c’est-à-dire des périodes où le développement culturel qui accompagne le développement économique et social s’est construit en référence au passé, notamment antique. Le parti pris géographique de cette exposition permet de proposer une lecture inédite du « style 1200 » en réunissant des œuvres d’une esthétique commune. Elle s’oppose à l’idée d’un art de transition.

Un parcours muséographique réparti en trois sections
Après un préambule, le parcours muséographique se compose de trois grandes sections chronologiques consacrées au renouvellement de l’art roman septentrional entre 1150 et 1170, à la formation d’un style nouveau, 1170-1180 et à l’épanouissement du « style 1200 », puis d’un épilogue consacré aux années 1220-1250. Parmi les œuvres de la section 1, vous pourrez voir des enluminures et des chapiteaux de l’abbaye de Saint-Bertin, conservés à Saint-Omer, des tympans de la collégiale Saint-Géry-au-mont-des-boeufs, conservés au musée des Beaux-Arts de Cambrai, et des cloîtres historiés de statues-colonnes, avec un prêt du musée Mayer Van den Bergh à Anvers. Des manuscrits de l’Eglise Saint-Laurent ou Eglise Saint-Jean l’Evangéliste de Liège, conservés dans le Cabinet des Manuscrits de la Bibliothèque royale de Belgique et des exemplaires du Scriptorium de Saint-Vaast d’Arras, conservés à la bibliothèque municipale d’Arras sont exposés entre autres dans la section 2. Enfin dans la section 3, sont présentés notamment le coffret du trésor de Moutier, conservé au musée de Cluny, la crosse de Soignies, conservée au musée du chapitre de la collégiale Saint-Vincent, et le reliquaire de la Sainte-Chandelle, conservé au musée des Beaux-Arts à Arras.

L’exposition présente ainsi une cinquantaine d’œuvres rares et précieuses (lapidaires, manuscrits, objets d’orfèvrerie) et suit, grâce à une scénographie originale, un parcours parallèle à celui proposé dans l’exposition parisienne du musée de Cluny, du 17 avril au 15 juillet 2013. L’exposition est ainsi réalisée dans le cadre d’un partenariat scientifique inédit avec le musée de Cluny, musée national du Moyen-Âge. Il se concrétise par un titre, un catalogue et un commissariat scientifique commun et la présence, au musée de Cluny, de deux des chefs d’œuvre du musée de l’hôtel Sandelin, emblématiques de l’art 1200 : le Pied de Croix de Saint-Bertin et la Croix-reliquaire de Clairmarais.

Source: www.culture.fr

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CONFERENCE: Modernamente antichi, anticamente moderni? Modelli, identità, tradizione nella Lombardia del Quattrocento, Lausanne, Université de Lausanne, Quartier Dorigny, Extranef, salle 110, 24 mai 2013.

Constructing Identity. Visual, Spatial, and Literay Cultures in Lombardy (14th-16th centuries), SNF Sinergia Project.

Programme

* Attilio Pracchi (Politecnico di Milano), Milano nel tardo medioevo. Memorie dell’antico e città
* Luisa Giordano (Università di Pavia), Considerazioni sull’architettura civile viscontea
* Edoardo Rossetti (Milano), In «contrata de Vicecomitibus». Il problema dei palazzi viscontei nel Trecento tra esercizio del potere e occupazione dello spazio urbano
* Alberto Cadili (Fondazione per le Scienze Religiose Giovanni XXIII, Bologna), Le magnificenze di Giovanni Visconti. Realtà e immagine dell’inserimento della Chiesa milanese nell’orbita viscontea (1330 ca.-1354)
* Pier Nicola Pagliara (Università di Roma Tre/EPFL), I Visconti ed il Palazzo arcivescovile
* Serena Romano (Université de Lausanne), I dipinti del Palazzo Arcivescovile. Novità e riflessioni
* Alessandro Della Latta (Istituto di Studi Umanistici Firenze), Licenze di poeti, licenze di pittori. Intorno alla ricezione del Dictum Horatii in tarda età viscontea
* Aldo Galli (Università di Trento), “Antefatti dell’Amadeo“? Una bottega di scultori lombardi sulla soglia del Rinascimento
* Matteo Ceriana (Gallerie dell’Accademia, Venezia), Cosa è il Bramantismo?
* Maria Cristina Loi (Politecnico di Milano), Palazzi e case nella Milano tardomedievale: formazione di un tipo?
* Roberta Martinis (EPFL, SUPSI), Cremona: abitare all’antica tra Venezia e Milano alla fine del Quattrocento.

Source: H-ArtHist

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CALL FOR PAPERS: Reconsidering the Artistic Response to the Black Death in Italy, Session at the Renaissance Society of America Annual Meeting (RSA), New York, 27-29 March 2014.

In 1951 Millard Meiss published his influential Painting in Florence and Siena after the Black Death. His thesis, that the black death caused a change in iconography and style, and his rather negative assessment of this style, have loomed over all subsequent assessments of the art of the late trecento in Italy. Despite some recent individual scholarly challenges, the impression has remained that this period formed a lull between the rebirth foretold by Giotto and manifested in Masaccio.

This panel is intended as a forum for the re-examination and reassessment of this oft-neglected period. Topics of special interest include the historiography of the post-black death period; papers which expand the geographical range of consideration beyond Tuscany to Northern and Southern Italy; and those analyzing specific late-trecento monuments or artists. Through new investigations we hope to move towards a more nuanced understanding of art after the Black Death.

Please submit a 150-word abstract, along with a list of keywords, and a one-page CV (max. 300 words) to Sarah Wilkins.

Deadline: 25 May 2013.

Source: H-ArtHist

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EXHIBITION: Illuminating Faith: The Eucharist in Medieval Life and Art, The Morgan Library & Museum (225 Madison Avenue, New York), 17 May – 2 September 2013.

When Christ changed bread and wine into his body and blood at the Last Supper, he instituted the Eucharist and established the central act of Christian worship. For medieval Christians, the Eucharist (the sacrament of Communion) was not only at the heart of the Mass—but its presence and symbolism also wielded enormous influence over cultural and civic life. Featuring more than sixty-five exquisitely illuminated manuscripts, Illuminating Faith offers glimpses into medieval culture, and explores the ways in which artists of the period depicted the celebration of the sacrament and its powerful hold on society.

The exhibition presents some of the Morgan’s finest works, including the Hours of Cardinal Alessandro Farnese, one of the greatest of all Books of Hours; the exquisite Preparation for Mass of Pope Leo X, which remained at the Vatican until it was looted by Napoleon’s troops in 1798; a private prayer book commissioned by Anne de Bretagne, queen of France, for her son the dauphin, Charles-Orland; and a number of rarely-exhibited Missals. Also on display will be objects used in medieval Eucharistic rituals, such as a chalice, ciborium, pax, altar card and monstrances.

This exhibition is made possible by Virginia M. Schirrmeister, with further generous support from the Janine Luke and Melvin R. Seiden Fund for Exhibitions and Publications, and from James Marrow and Emily Rose.

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CALL FOR PAPERS: Reexamining the Early Modern Ornament Print, Renaissance Society of America (RSA), New York, 27-29 March 2014.

The large and varied corpus of works that fall under the rubric of “ornament prints”, “Ornamentstiche” or “Ornamentale Vorlageblätter” have been variously catalogued and recorded since the early nineteenth century. These important studies give us a general overview of when and where the prints were made, the artists who made them and their probable functions. Many critical questions remain, however, not least the fundamental problem of what constitutes the genre itself. Rudolf Berliner’s notion of the ornament print as a template, for example, has proven to be overly one-dimensional and not representative of historic practice. Is it possible to define or formulate specific parameters for the genre as a whole? This session invites papers that take a wide view on the theme of non-architectural ornament prints from the fifteenth through seventeenth centuries.

Questions and topics to be considered could include:
• what is an ornament print?
• the origins of the genre
• the imagery of ornament prints
• the relationship of ornament prints to the other arts
• the creators of ornament prints, e.g. the goldsmith-printmaker
• the purpose and utility (or lack thereof) of ornament prints
• early collectors of ornament prints
• copying versus ownership of design.

Please submit an abstract (max. 150 words) and a brief CV (max. 300 words) to Femke Speelberg and Madeleine Viljoen .

Deadline: 24 May 2013.

Source: H-ArtHist

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