Les Petites Heures du duc Jean de Berry

Petite-Heures

LECTURE: Les Petites Heures du duc Jean de Berry, Conférence du Quadrilatère, par Marie-Hélène Tesnière (conservateur générale au département des Manuscrits, BnF) et Claudia Rabel (responsable de la section des Manuscrits enluminés à l’Institut de Recherche et d’Histoire des Textes, CNRS). Institut national d’histoire de l’art (INHA), Auditorium de la Galerie Colbert, 6 rue des Petits-Champs ou 2, rue Vivienne, Paris, 6 janvier 2015 – 18h15-19h30. Entrée libre.

Figurant parmi les six livres d’heures parvenus jusqu’à nous de la prestigieuse collection du duc de Berry, qui en comptait dix-huit, les Petites Heures du duc de Berry constituent un témoignage capital de l’histoire de l’enluminure. OEuvre de plusieurs artistes de talent, qui, semble-t-il, se succédèrent entre 1375 et 1415 – Jean le Noir, Jacquemart de Hesdin, le maître de la Trinité, les frères Limbourg –, le manuscrit apparaît comme une oeuvre charnière entre l’enluminure pucellienne du second quart du XIVe siècle et le gothique international du début du XVe siècle.

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Matteo da Perugia e il gotico milanese

COURSE: Matteo da Perugia e il gotico milanese (1390-1425). Direttore: Pedro Memelsdorff, Fondazione Giorgio Cini, Isola di San Giorgio Maggiore, Venezia, 17 – 21 maggio 2015.

Il seminario verrà dedicato all’opera profana di Matteo da Perugia (fl. 1400-1425), maestro di cappella al Duomo di Milano tra il 1402 e il 1407, e di nuovo tra il 1414 e il 1416. Nulla si sa della sua formazione – possibilmente umbra – e non sono documentati gli anni della sua assenza dal Duomo milanese. È stata ipotizzata dagli studiosi una sua attività, prima pavese e poi pisana e bolognese, presso il cardinale Pietro Filargo – eletto papa dal Concilio di Pisa col nome di Alessandro V nell’estate del 1409 – con ogni probabilità il suo principale protettore.

La musica di Matteo comprende svariati tempi di messa, due mottetti latini e una ricca serie di liriche italiane e soprattutto francesi. Infatti il suo è il più ricco chansonnier francese composto da un italiano del suo tempo. Le fonti che tramandano questo vasto repertorio sono sorprendentemente poche: un codice attualmente a Modena, che contiene quasi tutta la sua opera, e tre frammenti ora a Parma, Berna e New York.

Tale situazione ha fatto supporre una circolazione limitata del materiale anche se, per altri versi, l’influsso di Matteo – o del suo entourage – sui polifonisti delle generazioni future sembra attestato da fonti teoriche dei decenni centrali del Quattrocento italiano e transalpino. Matteo, in sintesi, sembra rappresentare più di ogni altro compositore lo splendore e la raffinatezza del Gotico milanese e lombardo.

Il bando è rivolto ad ensembles professionali o semi-professionali specializzati nel repertorio tardo medievale. Sono disponibili delle borse di studio da destinarsi ad uno o due trii vocali-strumentali. Le borse copriranno: la quota d’iscrizione al seminario, le spese di vitto e alloggio (presso la Residenza del Centro Internazionale di Studi Vittore Branca) e le spese di viaggio (in classe economy fino ad un massimo di € 700).

Per partecipare alla selezione i candidati devono far recapitare alla segreteria dei seminari ( via email a: musica.antica@cini.it) il seguente materiale:
- CV dettagliato dell’ensemble e dei singoli membri/solisti;
- una registrazione musicale di un brano del tardo Trecento oppure di un brano di Ars subtilior (in formato MP3 o MP4, non si accettano video).

Il seminario è aperto ad uditori su richiesta e in seguito ad approvazione.

Deadline: 1 febbraio 2015.

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Domestic Devotions in the Early Modern World

CALL FOR PAPERS: Domestic Devotions in the Early Modern World, 1400-1800, an Interdisciplinary Conference, St Catharine’s College, University of Cambridge, 9 – 11 July 2015.

Plenary speakers will be Debra Kaplan (Bar-Ilan University), Andrew Morrall (Bard Graduate Center) and Virginia Reinburg (Boston College).

Across faiths and regions and throughout the world, the home was a centre for devotion in the early modern period. Holy books, prayer mats, candlesticks, inscriptions, icons, altars, figurines of saints and deities, paintings, prints and textiles all wove religion into the very fabric of the home. While research into religious practice during this period often focuses on institutions and public ceremonies, it is clear that the home played a profound role in shaping devotional experience, as a place for religious instruction, private prayer and contemplation, communal worship, and the performance of everyday rituals.

The ERC-funded research project Domestic Devotions: The Place of Piety in the Italian Renaissance Home will be hosting this three-day international interdisciplinary conference in July 2015. The project team invites proposals for 20-minute papers that explore domestic devotions in the early modern world. Papers may consider this theme from a variety of perspectives, including material culture studies, art and architectural history, gender studies, theology, religious studies, economic and social history, literary studies, musicology, archaeology and anthropology.

Topics may include, though are not limited to:
- Religion, ritual and belief in the home
- The use of images, objects or books in private devotion
- Daily life and life cycles
- The relationships between collective (e.g. institutional or non-familial) devotion and private devotion
- The role of the senses in spiritual experience
- The production and ownership of religious objects found in the home
- Gender, race or age and devotional life
- Policing and regulating household religion
- Encounters between different faiths and traditions in domestic context
- Domestic devotional spaces
- Music in domestic devotion
- Devotional literature.

Please email abstracts of no more than 300 words to Maya Corry, Marco Faini and Alessia Meneghin. Along with your abstract please include your name, institution, paper title and a brief biography.

Deadline: 7 January 2015. Successful applicants will be notified by 7th February 2015.

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Enrico Castelnuovo. Journée d’hommage

Enrico-Castelnuovo

CONFERENCE: Enrico Castelnuovo. Journée d’hommage, Institut national d’histoire de l’art (INHA), Galerie Colbert, Salle Giorgio Vasari, 6 rue des Petits-Champs ou 2, rue Vivienne, 9 janvier 2015. Entrée libre dans la limite des places disponibles.

Organisée par Michel Laclotte, Chantal Georgel et Damien Bril (INHA).

Au carrefour de l’histoire de l’art, de l’histoire et de l’anthropologie, les recherches d’Enrico Castelnuovo ont ouvert de fécondes perspectives en oeuvrant au décloisonnement des disciplines et en initiant des approches novatrices. Ses premiers travaux, qui aboutirent à la publication d’une monographie sur l’oeuvre de Matteo Giovannetti, lui ont aussi donné une conscience aiguë des enjeux patrimoniaux soulevés par la recherche, et très tôt il appela de ses voeux la restauration, actuellement engagée, des décors d’Avignon.

De l’Université de Lausanne (1964-1983), où il a contribué à la création de l’Institut d’Histoire de l’art, à la Scuola Normale Superiore de Pise à partir de 1983, il a défendu un enseignement actif et engagé, n’hésitant pas à déborder largement son cadre de spécialisation initial. Parallèlement, il a vivement soutenu la plus large diffusion de la connaissance en histoire de l’art, notamment par sa collaboration suivie avec les éditions Einaudi.

En retraçant diverses facettes de cette personnalité, cette journée d’études propose des regards transversaux sur les résultats de ses recherches aussi bien que sur l’actualité de sa méthode d’historien.

Programme

Session I – L’Historien de l’art médiéval
Présidence de séance: Michel Laclotte (INHA)
* Michel Laclotte (INHA), Ouverture
* Dominique Thiébaut (Musée du Louvre), Un pittore italiano alla corte di Avignone. Matteo Giovannetti e la pittura in Provenza nel secolo XIV: une monographie pionnière pour la défense d’un peintre mal-aimé
* Dominique Vingtain (Musée du Petit Palais), Le chantier de restauration d’Avignon: méthodes et résultats
* Michele Tomasi (Université de Lausanne), Enrico Castelnuovo médiéviste: le cas du gothique international
* François-René Martin (Ecole Nationale Supérieure des Beaux-Arts), De l’histoire sociale de l’art à l’histoire des expositions d’art médiéval.

Session II – Enseignement, méthodes et concepts
Présidence de séance: Serena Romano (Université de Lausanne)
* Serena Romano (Université de Lausanne), Introduction: Enrico Castelnuovo à Lausanne
* Daniela Gallo (Université de Lorraine), Enrico Castelnuovo à la Scuola Normale Superiore de Pise
* Olivier Bonfait (Université de Bourgogne), Centre et périphéries: Enrico Castelnuovo entre géographie artistique et histoire sociale de l’art
* Michela Passini (CNRS), Enrico Castelnuovo et l’histoire de l’histoire de l’art.

« Enrico Castelnuovo ricorda il suo maestro Roberto Longhi » (diffusion d’un entretien de dix minutes en italien, enregistré en 2008)
* Giovanni Romano (Université de Turin), Conclusion générale.

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Aspettando Giovanni da Modena

EXHIBITION: Aspettando Giovanni da Modena. La miniatura a Bologna tra il 1390 e il 1450 nei codici del Museo Civico Medievale, Bologna, Museo Civico Medievale, Via Manzoni 4, 16 Settembre 2014 – 12 Aprile 2015.

In concomitanza con la mostra Giovanni da Modena. Un pittore all’ombra di San Petronio, presso il Museo Civico Medievale, si espone nella sezione dedicata ai Codici miniati una ricca selezione di alcuni dei suoi capolavori, tra cui il prestigioso ciclo completo dei Corali della Chiesa di San Francesco, realizzato tra il 1440 e il 1450. Oltre a questi saranno visibili gli Statuti, le Matricole delle Società d’arte eseguiti all’epoca e altri codici cronologicamente riferibili agli stessi anni, nonché alcuni capolavori miniati da Nicolò di Giacomo e da Stefano degli Azzi, protagonisti della miniatura della seconda metà del Trecento.

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Chemins des écritures

LECTURES: Chemins des écritures, Séminaire doctoral de l’université Paris-Sorbonne – École doctorale V, Maison de la Recherche, 28 rue Serpente,  Paris 75006. Les séances se tiendront le vendredi de 10h à 13h en salle D 040 sauf celle du 19 décembre.

Le champ des écritures ne cesse aujourd’hui de s’ouvrir à des cultures et des corpus jusqu’alors inconnus. Ces recherches récentes et foisonnantes nous invitent à réinterroger le concept d’écriture en nous évadant de la vulgate logocentrique pour renouer avec les « savoirs » anciens de l’écriture. Savoirs et mémoires du corps aux confluents du son, du geste et de l’image. De nouveaux chemins de recherche qu’une anthropologie de l’écriture se propose d’explorer…

Programme

19 décembre (Salle D 035)
* Michel Melot, Autour de l’apport des travaux d’Anne-Marie Christin à l’histoire de l’écriture
* Emmanuël Souchier et Anne Zali, Ouverture(s) du séminaire, méthodes et corpus.

23 janvier
* Ghani Alani, La part du geste: la calligraphie arabo-persanne.

13 mars
* La part du corps: chamanisme et écriture (à confirmer).

10 avril
* Alexandre Saint-Jevin, La part du rêve, la lettre à Irma.

22 mai
* Marc Thouvenot, La part de l’image, l’écriture aztèque.

19 juin
* La part du son: écriture et parole (à confirmer)
* Olivier Fournout, L’oralité en scène.

3 juillet
* Aurélie Névot, La part du rituel, le chamanisme à écriture des Yi (à confirmer)
* Emmanuël Souchier et Anne Zali, Le dieu masqué ou la part de Thot: vers une anthropologie de l’écriture.

Source: Calenda

Sanctity Pictured (Symposium)

Nashville-Symposium

CONFERENCE: Sanctity Pictured: The Art of the Dominican and Franciscan Orders in Renaissance Italy, The Frist Center for the Visual Arts (Auditorium), 919 Broadway, Nashville, Tennessee, 10 January 2015, 10:30 a.m.–4:00 p.m.

The Frist Center will hold a public symposium to coincide with the major exhibition Sanctity Pictured: The Art of the Dominican and Franciscan Orders in Renaissance Italy. The all-day event will bring together art historians from America and Europe whose research focuses on the role of the Dominicans and Franciscans in the great flowering of art and architecture in Italy during the period 1200 to 1550.

Program

* Trinita Kennedy (Curator, Frist Center for the Visual Arts), Welcome and Introduction
* Christine Sciacca (Assistant Curator, Manuscripts Department, The J. Paul Getty Museum), The Abbey Bible: An Early Mendicant Moment Captured
* Janet Robson (Independent Scholar), Dominicans, Franciscans, and the Art of Praying
* Donal Cooper (University Lecturer in Italian Renaissance Art and Fellow of Jesus College, University of Cambridge), Fragmentary Lives: Narrative Scenes from Renaissance Altarpieces in Sanctity Pictured
* Holly Flora (Associate Professor, History of Art, Tulane University), Fashioning Female Sanctity: The Significance of Clothing in Giovanni di Paolo’s Catherine of Siena Predella (ca. 1460).

Registration fee: $40 non-members; $30 members; $20 students and university faculty.

Abstracts

Sanctity Pictured (Exhibition)

Nashville-Exhibition

EXHIBITION: Sanctity Pictured: The Art of the Dominican and Franciscan Orders in Renaissance Italy, The Frist Center for the Visual Arts, 919 Broadway, Nashville, Tennessee, 31 October 2014 – 25 January 2015.

Beginning in the early thirteenth century, Italy was transformed by two innovative new religious orders known as the Dominicans, founded by Saint Dominic of Caleruega (1170–1221; canonized 1234), and the Franciscans, founded by Saint Francis of Assisi (1181/82–1226; canonized 1228). Whereas earlier religious orders, such as the Benedictines, had cloistered themselves in rural monasteries and lived off income from their property, the Dominicans and Franciscans settled in Italy’s growing cities and lived as mendicants, or beggars, who preached to laymen and women. When Francis and Dominic met in Rome in 1216, they recognized one another as brothers and embraced.

Both orders took a vow of poverty, but soon after the deaths of their founders they were building churches that rivaled cathedrals in size and splendor throughout Italy. With financial assistance from city governments, popes, and the laity, Dominican and Franciscan churches were constructed and filled with altarpieces, crucifixes, fresco cycles, illuminated manuscripts, and liturgical objects. Art became integral to the missions of these orders. Many works are narrative scenes focusing on the Dominican and Franciscan saints whose miracles sanctified contemporary Italian life.

This exhibition is the first to highlight the significant role played by the two major mendicant orders in the great flowering of art in Italy in the period 1200 to 1550. With works drawn from libraries and museums in the United States and the Vatican, it compares and contrasts ways the Dominicans and Franciscans employed art as propaganda and as didactic tools for themselves and their lay followers.

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