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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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CONFERENCE: The Badia Fiesolana. Augustinian and Academic locus amoenus in the Florentine Hills, Florence, Biblioteca Medicea Laurenziana, Sala d’Elci, 31 May 2013. Organized by Angela Dressen (Villa I Tatti, Firenze) and Klaus Pietschmann (Universität Mainz).

PROGRAM

* Vera Valitutto (Biblioteca Laurenziana), Klaus Pietschmann (Mainz), Angela Dressen (Villa I Tatti), Welcome and introduction
* Angela Dressen (Villa I Tatti), Introduction to the Badia Fiesolana as a Medicean academic locus amoenus.

The Visual Arts
Chair: Klaus Pietschmann
* Mauro Mussolin (SNS Pisa), La Badia Fiesolana e i suoi orti: le trasformazioni quattrocentesche da monastero benedettino a canonica regolare
* Jens Niebaum (Münster/Bonn), Sull’architettura della chiesa della Badia Fiesolana
* Paolo Parmiggiani (Napoli), Gli arredi lapidei della Badia Fiesolana.

The Augustinian Canons
Chair: Thomas Leinkauf
* Peter Howard (Monash University), “In Magnificentiae Cosmi Medicei Florentini”: Maffei preaching ‘against the grain’
* Klaus Pietschmann (Mainz), “Tiniunt adhuc mihi aures”. Matteo Bossi and Celso Maffei on music.

Intellectual Life in and around the Badia
Chair: Thomas Leinkauf
* Pietro Podolak (Warwick), Matteo Bossi priore della Badia Fiesolana e i suoi rapporti con il platonismo ficiniano
* Laura Refe (Villa I Tatti), Angelo Poliziano e la Badia Fiesolana
* Stéphane Toussaint (Lucca/Paris), Giovanni Pico della Mirandola e la Badia Fiesolana.

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CALL FOR PAPERS: Seeing the Soul: Representations of the Invisible, Session at the Renaissance Society of America Annual Meeting, New York,  27-29 March 2014.

The soul was a matter of importance to people in the 14th-16th centuries. There were questions about the nature of this illusive being, and, of course, the perennial concern over its ultimate fate. Images of the soul appeared in frescoes, manuscripts and paintings, but the soul is incorporeal and in some fundamental way, unknowable. It simultaneously IS us, and distinct from us.

This panel seeks papers that address the problem of picturing that which is always out of sight and yet present, and investigate the methods used by artists and writers in the 14th-16th centuries to visualize the invisible.

Papers may address questions such as how the soul was represented in a specific time/place; the influence of antique models; how literary descriptions of the soul translated into image; the religious/scholarly discourse on the nature of the soul; the appropriateness of images of the soul; common visual and literary tropes that develop; the ‘life’ or journey of the soul (Dante, pilgrimage/visionary narratives and allegories); and venues for such representations.

Papers from all disciplines will be considered.

Please submit 200 word proposals to Sarah Schell. Please include a brief CV with name, email address, institutional affiliation, and title of paper. Feel free to email with any questions.

Deadline: 31 May 2013.

Source: H-ArtHist

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