Grisaille: Shades of Meaning in Medieval MSS

grisaille

CONFERENCE - Leeds 2015 Art History session: Grisaille, Shades of Meaning in Late Medieval Manuscripts, Thursday, 9 July 2015: 14.15-15.45. Session: 1702.

Grisaille, or imagery in monochrome tones of grey, proliferated in late-medieval Northern Europe. This session explores grisaille, with a particular focus on its appearance in manuscripts, in an effort to better understand this enigmatic artistic phenomenon. The papers will present a series of case studies, and will consider issues of technique, iconography, artistic identity and collaboration, relationships between artistic media, patronage, and reception.

Organiser:
* Sophia Rochmes (Department of History of Art & Architecture, University of California, Santa Barbara) and Anna Russakoff (American University of Paris).

Moderator/Chair:
* Anna Russakoff, American University of Paris.

Speakers:
* Bertrand Cosnet (UFR d’histoire, histoire de l’art & archéologie, Université de Nantes), Disappearance of Colors in 14th-Century Manuscripts: The Personifications in Question
* Elliot Adam (Centre André Chastel, Université Paris-Sorbonne – Paris IV), Prayer in Shades of Grey: A Grisaille Book of Hours from the Lyonnais Workshop of Guillaume Lambert
* Verena Krebs (Martin Buber Society of Fellows in the Humanities, Hebrew University of Jerusalem), Prester John’s Painters: European Grisaille Illuminations in Late Medieval Manuscripts from the Ethiopian Royal Court
* Elizabeth Moodey (Department of History of Art, Vanderbilt University, Tennessee), Case by Case: A Look at Manuscripts that Combine Grisaille and Full Color.

Source: Medieval Art Research

Drawings in Germany and Italy

CALL FOR PAPERS: Beyond Disegno? The Emergence of Independent Drawings in Germany and Italy in the 15th and 16th Century, International Conference at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut, in cooperation with the Gabinetto Disegni e Stampe degli Uffizi, Florence, via Giuseppe Giusti 44, Florence, 3 – 5 March 2016.

Disegno has received great attention from art-historical scholarship for several decades now. Its significance for the art of the Italian Renaissance and for the system of the arts right up to the modern era is indisputable. But artistic developments outside the sphere of disegno easily escape our notice. This is particularly true of independent or finished drawings. Thus it was barely registered that independent drawings were produced in large numbers in Germany after 1500, but remained the exception in Italy.

We would expect this situation to be the other way round, given the highly developed culture of drawing in Italy, where artists worked with distinct graphic media and types of drawing. Drawings were collected, and practical aids such as cartoons were exhibited in public and, in the case of Michelangelo, proclaimed the “scuola del mondo”. Yet drawings were situated almost exclusively within the working process and – despite the heightened appreciation of disegno – were understood as a preparatory medium that was ultimately just a means to an end.

In the German-speaking sphere, by contrast, no noteworthy theory of art prevailed at the point in time when independent drawings began to spread, but a market was already established for prints in a wide range of graphic techniques, and probably – on a smaller scale – for drawings, too. The conference proposes to address this discrepancy for the first time. The intention is thereby not only to take a keener look at the practice of drawing, its recipients and its relationship to print culture, but also to enquire what role art theory actually played. For it is evident that the cult of drawing and the ideal of disegno in Italy did not result in the independent drawing also establishing itself there.

We welcome papers that adopt a comparative approach or examine significant individual cases and which discuss inter alia the following problem areas:

* Along what paths can we arrive at criteria by which to differentiate between finished drawings and preparatory drawings? Was such a distinction relevant for their contemporaries? What role is played here by monogrammings and datings by the artists? What factors favoured or hindered the process whereby drawings became independent? Are there special regional developments, and if so, why?

* In what sort of media environment can finished drawings be situated? In what relation do they stand to printmaking, book illustration and small-format panel paintings? Were there preferred media for independent drawings, such as chiaroscuro drawing or watercolour, and what made such media appropriate?

* What material and cultural practices were associated with drawings and what can these tell us about their status? Under what circumstances were drawings presented as gifts, framed, inscribed, collected, sold, stuck into albums, copied or shown in public?

* Do independent drawings exhibit specific motifs, compositions, styles of drawing or narrative strategies? What kinds of reception do they invite and how do they interact with the addressee?

Proposals for papers should not exceed one page in length and should be accompanied by a short CV. Doctoral students and other researchers at the beginning of their career are expressly encouraged to apply. The conference languages are German, English and Italian. Speakers will have their travel and accommodation costs paid.

Concept: Daniela Bohde, LMU Munich/Goethe University Frankfurt and Alessandro Nova, Kunsthistorisches Institut Florenz – Max-Planck-Institut. Please submit your proposals to Daniela Bohde.

Deadline: 10 August 2015.

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Sotheby’s: London, 7 July 2015

Sotheby's-July-2015

AUCTION: Medieval and Renaissance Manuscripts, Sotheby’s (34-35 New Bond Street, London W1A 2AA UK), Tuesday 7 July 2015.

The following entries are of particular interest:

Lot 17
Christ Blessing in an historiated initial, one of seven painted initials on thirteen leaves of an Antiphonary, in Latin [Italy, Tuscany (perhaps Arezzo or San Sepolchro), c.1250-75].

Lot 18
Three illuminated initials on leaves from Franciscan Antiphonaries, in Latin [Italy (Bologna), c.1300-25].

Lot 19
Decorated initial on a leaf from a Choirbook, in Latin [southern Italy, c.1250s].

Lot 22
Two historiated initials from illuminated manuscripts [Italy and Germany, 15th century].

Lot 24
Leaf from a Ferial Psalter, in Latin [Italy (probably Florence), c.1470-90].

Lot 25
Four bifolia from a Missal, Use of Augustinian Hermits, in Latin [north-eastern Italy, c.1490s].

Lot 26
Ozias, Prince of Judah, and King Ahasuerus, two historiated initials on a leaf from the Breviary of Lionello d’Este, in Latin [Italy (Ferrara), between 1441 and 1448].

Lot 27
The Dance of Death, full-page miniature [northern Italy, Lombardy, c.1490].

Lot 28
The Triumph of David, large full-page miniature [Italy (Rome), c.1550-75]
PROPERTY FROM THE COLLECTION OF SIR TIMOTHY AND LADY CLIFFORD.

Lot 57
Historiated, illuminated, and decorated initials on twenty-nine leaves from manuscripts in Latin [Flanders, France, Italy, and Spain, 14th, 15th, and 16th centuries].

Lot 67
The Organization and Duties of Vatican Chamberlains and Guards, in Latin [Italy (Rome), after 1539].

Lot 70
Gradual, in Latin [Italy (Siena), c.1280].

Lot 72
Book of Hours, Use of Rome, in Latin and Italian [Italy (Florence), c.1480].

Lot 73
Book of Hours, Use of Rome, in Latin [Italy (Florence), c.1470s].

Lot 74
Book of Hours, Use of Rome, in Latin [Italy (Naples), c.1490].

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Dizionario degli editori, tipografi, librai itineranti

BOOK: Dizionario degli editori, tipografi, librai itineranti in Italia tra Quattrocento e Seicento, coordinato da Marco Santoro, a cura di Rosa Marisa Borraccini, Giuseppe Lipari, Carmela Reale, Marco Santoro e Giancarlo Volpato, Pisa – Roma 2013 (Fabrizio Serra editore), voll. I-III, pp. XXXII+1244+32 complessive (XXXII-376+8 vol. I; 377-840+16 vol. II; 841-1244+8 vol. III).

Come tutte le innovazioni strutturali che hanno determinato profondi mutamenti nella vita e nei costumi dell’umanità, anche la stampa affonda ramificate e in buona parte comprensibili radici nel contesto storico-sociale all’interno del quale è sorta e si è sviluppata. Tuttavia, vi sono almeno altri due aspetti della rivoluzionaria invenzione che meritano attenzione: quello economico e quello gestionale.

La stampa pone in campo una serie di protagonisti e spalanca una serie di scenari. Fra i protagonisti: stampatori, editori, librai, fonditori di caratteri, disegnatori e artefici di illustrazioni, cartai. Fra gli scenari: la comunicazione scritta, la formazione culturale, i rapporti interpersonali di conoscenze professionali, le tensioni e gli equilibri politico-ideologici, le strategie tecnico-artistiche di promozione, gli agganci con le prassi commerciali. Un microcosmo, vario e complesso quello dei libri e degli artefici materiali che danno corpo al manufatto.

Per azione di chi, dove e perché, con quali mezzi e con quali finalità sorgono le tipografie? In effetti, l’itineranza, lo spostamento da un centro ad un altro agli esordi della stampa, soprattutto da parte dei tipografi, è cosa nota e comunemente acquisita quale peculiarità della repentina ‘fortuna’ della nuova arte. Altrettanto note sono le vicende di celebri stampatori e famiglie di stampatori che, con moderno spirito imprenditoriale, aprirono officine, avviarono attività libraria o editoriale, realizzarono pubblicazioni spesso su commissione in più di un centro italiano e talvolta anche all’estero.

Eppure, finora non erano state attivate ricerche sistematiche per verificare l’effettiva consistenza del fenomeno e per cercare di decodificarne le cause principali. In tale senso si è invece mossa la ricerca di cui questo Dizionario, in tre volumi. I soggetti presi in considerazione sono stati di tre tipi: soggetti individuali, soggetti-famiglia e soggetti costituiti da società tipografico-editoriali, che assommano a 604 per un totale di oltre 750 singoli artieri.

Il Dizionario ha consentito non solo di ricostruire biografie professionali di noti, meno noti e talvolta semisconosciuti e quasi occasionali artieri, ma anche di verificare tappe, soste, attività e ragioni della mobilità dei ‘professionisti’ del libro. Si sono ricostruite radicate e sorprendenti capacità manageriali, modernissime vocazioni per strategie di ponderati presidi nei centri italiani e stranieri di maggiore potenzialità commerciale e di maggiore vivacità intellettuale.

Le diverse vicende delle maggiori dinastie tipografico-editoriali, lungi dal connotarsi quali imprese professionali improvvisate, inducono a ripensare l’entità stessa delle professioni del libro, i meccanismi concorrenziali fra diversi soggetti attivi ora nel medesimo luogo ora in piazze diverse e le logiche dei rapporti con le autorità laiche ed ecclesiastiche.

Jewish Illuminated Manuscripts

Jewish Mss

BOOK: Skies of Parchment, Seas of Ink: Jewish Illuminated Manuscripts, edited by Marc Michael Epstein, with contributions by Eva Frojmovic, Jenna Siman Jacobs, Hartley Lachter, Shalom Sabar, Raymond P. Scheindlin, Ágnes Vető, Susan Vick, Barbara Wolff and Diane Wolfthal, Princeton 2015, (Princeton University Press), 288 pp., 278 color illus., $60.00 or £41.95.

The love of books in the Jewish tradition extends back over many centuries, and the ways of interpreting those books are as myriad as the traditions themselves. Skies of Parchment, Seas of Ink offers the first full survey of Jewish illuminated manuscripts, ranging from their origins in the Middle Ages to the present day.

Featuring some of the most beautiful examples of Jewish art of all time—including hand-illustrated versions of the Bible, the Haggadah, the prayer book, marriage documents, and other beloved Jewish texts—the book introduces readers to the history of these manuscripts and their interpretation.

Edited by Marc Michael Epstein with contributions from leading experts, this sumptuous volume features a lively and informative text, showing how Jewish aesthetic tastes and iconography overlapped with and diverged from those of Christianity, Islam, and other traditions.

Featured manuscripts were commissioned by Jews and produced by Jews and non-Jews over many centuries, and represent Eastern and Western perspectives and the views of both pietistic and liberal communities across the Diaspora, including Europe, Israel, the Middle East, and Africa.

Magnificently illustrated with pages from hundreds of manuscripts, many previously unpublished or rarely seen, Skies of Parchment, Seas of Ink offers surprising new perspectives on Jewish life, presenting the books of the People of the Book as never before.

Table of Contents

The World of St. Francis of Assisi

CONFERENCE: The World of St. Francis of Assisi, Siena School for the Liberal Arts, Via Tommaso Pendola 37, Siena, Italy, 17 – 19 July 2015.

Conference organized by Meredith College, with Mercer-Kesler Funds, SUNY Geneseo, with the William R. Cook Fund, University of Portland and Gonzaga University.

When Jorge Bergoglio became the first pope to choose the name Francis, it served as a reminder of Francis of Assisi’s profound effect on the world in the eight centuries since his death. During his lifetime, Francis challenged religious, social, and economic norms and helped reenergize a Church under assault. He founded the most popular religious order of the Middle Ages, and from the thirteenth century up to the present, Franciscans have attracted devotees from Assisi to Latin America and beyond.

The conference will include keynote lecture by Michael Cusato, O.F.M., Dean, School of Franciscan Studies, Director of the Franciscan Institute and Professor of Franciscan Studies at St. Bonaventure University. In addition, there will be plenary addresses by SUNY Geneseo Distinguished Teaching Professors William R. Cook (History) and Ron Herzman (English). A dinner for conference participants will be held on Saturday evening, as well as an excursion to Assisi with a guided tour for Monday. by William Cook (Distinguished Teaching Professor of History, Emeritus, SUNY Geneseo) and Ron Herzman (Distinguished Teaching Professor of English, SUNY Geneseo).

Program

Friday, 17 July 2015
9:00 am – 10:30 am
Franciscan Charity (Room 1)
* William R. Levin (Centre College, Emeritus), A Franciscan Contribution to Charitable Practice at the Florentine Misericordia
* Karen E. Gross (Lewis & Clark College), St. Francis and the Generous Heart
* Andrea W. Campbell (Randolph College), A Franciscan for the Fifteenth Century: San Bernardino and his Message of Peace.

The Basilica of Assisi: New Insights (Room 2)
* Sarah S. Wilkins (Pratt Institute), Gleaming Faces, Glittering Words: The Franciscan Use of Gold in the Magdalen Chapel in San Francesco in Assisi
* Erica M. Longenbach (University of North Carolina at Chapel Hill), Picturing Assisi: Affect, Architecture, and Ideology in the Legend of St. Francis Cycle
* Michael D. Calabria, OFM (St. Bonaventure University), Seeing Stars: Islamic Decorative Motifs in the Basilica of St. Francis.

Franciscan Spirituality (Room 3)
* Anselm Rau (Goethe University Frankfurt), Emotions and Imagination. The Regulations of Affects
* Sandra Cardarelli (University of Aberdeen), St. Francis in Southern Tuscany: History, Art, and Devotion in the Records of Francesco Anichini and Other Archival Documents
* Liubov Terekhova (Bila Tserkva Lyceum of Economics and Law), St. Francis of Assisi and Conceptualization of Mystical Experience in Female Spirituality.

11:00 am – 12:30 pm
Female Franciscan Institutions (Room 1)
* Gabriella Zarri (University of Florence), Why become a Poor Clare. Franciscan Observance proposed to women (15th C.)
* Ana Vargas Martínez (Universidad Carlos III de Madrid), Isabel de Villena: A “Feminist” Abbess in the Clarissan convent of Valencia?
* Brian Els (University of Portland), Franciscan Organizations and Child Welfare in 19th-Century Austria.

Franciscan Spirituality (Room 2)
* Megan Hines (Hunter College), Reliquaries of the True Cross: Defining a “Uniquely Franciscan” Spirituality
* Kristina Keogh (Indiana University, Bloomington), The Female Franciscan Body as Image
* E. Ann Matter (University of Pennsylvania), Franciscan Women After Trent: Giovanna Maria della Croce and Maria Domitilla Galluzzi.

The Creation of Francis’s Worldview (Room 3)
* Rev. Jeffrey A. Cooper (CSC, University of Portland), Quasi Leprosus: Re-Reading the Conversion of St. Francis through a Girardian-Alisonian Lens
* Umberto Barcaro (University of Pisa), Francis of Assisi’s Dream with the Palace Full of Weapons
* Christopher Ohan (Texas Wesleyan University), Reconsidering Francis’s Encounter with the Sultan during the Fifth Crusade.

2:15 pm – 4:15 pm
Franciscan Art in the Renaissance (Room 1)
* Filip Malesevic (University of Fribourg, Switzerland), On Giotto’s Franciscan cycle in the Bardi and Peruzzi chapels
* Chloë Reddaway (National Gallery, London), Covenants and Connections: Ghirlandaio’s Frescoes in the Sassetti Chapel, Santa Trinita, Florence
* Hisashi Yakou (Hokkaido University), The Last Judgment in the Cathedral of Fidenza and the Eschatological Images in the Franciscan Context
* Erin K. Grady (University of North Carolina at Chapel Hill), Imagining Friendship: Images of the Meeting of Francis and Dominic.

Saint Francis’s Devotion and Love (Room 2)
* Beth A. Mulvaney (Meredith College), Bellini’s Annunciation for Santa Maria dei Miracoli in Venice
* Katherine Powers (California State University, Fullerton), Franciscan Values in Giovanni Bellini’s Altarpiece in Santa Maria Gloriosa dei Frari in Venice
* Brian D. Steele (Texas Tech University), Paolo Veronese’s Mystic Marriage of St. Catherine in Physical, Spiritual, and Liturgical Contexts
* Liana De Girolami Cheney (Università di Aldo Moro), Giorgio Vasari’s Saint Francis: A New Mannerist Piety.

Franciscan Architecture (Room 3)
* Erik Gustafson (Independent Scholar), Building Franciscan Identity in Medieval Tuscany
* Catarina Madureira Villamariz (Universidade Nova de Lisboa), The Impact of Franciscan Architecture in the Mediterranean Context: Singularities of the Portuguese Case
* Nuno Villamariz Oliveira (Universidade Nova de Lisboa), Franciscan Exegesis and Architecture: Paradigms of the Artistic Ideology of King Manuel I of Portugal
* Mary R. McHugh (Gustavus Adolphus College), The Wolf of Gubbio in Context: From Assisi to Pampulha, Brazil.

6:00 pm:
Plenary Lecture
* William R. Cook (Distinguished Teaching Professor of History, Emeritus SUNY Geneseo), Two Men Named Francis.

Saturday, 18 July 2015
9:00 am – 10:30 am
Franciscan Communities (Room 1)
* Adrian Dzugan (University of Presov), Periphery in the Franciscans’ Life, Franciscans on the Periphery
* Ermioni-Iliana Syrrou (University Paris I-Panthéon Sorbonne), “Non debetur ei latria, sed hyperdulia”: The Legitimacy of Blood Relics and Their Iconography in the Late Medieval Franciscanism
* Ricardo De Mambro Santos (Willamette University), In Search of the Amadeits: The Blessed Amadeus and the Franciscan Spirituality in Fifteenth-Century Italy.

Modern Political Legacy of Francis (Room 2)
* Nicoletta Stradaioli (University of Perugia), Saint Francis and Aldo Capitini: A Bridge Between Spirituality and Politics
* Weston Kennison (SUNY Geneseo), Pilgrimage of the Wolf: St. Francis as Peacemaker in Gubbio and Nicaragua
* Wei Hu (Université Paris-Sorbonne 5), The Birth of a Saint-Poet in Modern Context: A New Image of St. Francis of Assisi in 19th- and Early 20th-Century French Literature.

Francis’s Influence on Ecology, Farming, and Ethics (Room 3)
* Gary Lee Malecha (University of Portland), The Catholic Tradition’s Response to the Decline of Animal Husbandry in Industrial Farming
* Eloise Grathwohl (Meredith College), Halldór Laxness’ Under the Glacier and the Urgency of St. Francis’s Legacy
* Michael F. Andrews (University of Portland), Encountering Ethics in Unfamiliar Places: Dante’s Vision of Grace from St. Francis to Pope Francis.

11:00 am – 12:30 pm
Franciscan Art from the Medieval to the Modern World (Room 1)
* Patricia Likos Ricci (Elizabethtown College), Franciscan Naturalism and Artistic Innovation in Giotto’s The Stigmatization of Saint Francis
* Cassandra Margerita Siortino (University of California at Berkeley), The Ascension of Saint Francis of Assisi and Giotto in Victorian Britain
* Sarah Lippert (University of Michigan-Flint), Saint Francis’s Ecstasy in 19th -Century French Devotional Paintings.

Francis’s Legacy in Late Medieval Philosophy, Canon Law, and Historiography (Room 2)
* Caery A. Evangelist (University of Portland), St. Francis and Transcendental Character
* Andrea Bartocci (University of Teramo), New Sources for the Franciscan Economy: The Consilia and Quaestiones of the Canonist Federico Petrucci
* Nicole Leapley (Saint Anselm College), Everywhere and Nowhere: Francis in Old French Hagiography.

Roundtable Discussion: Preaching to New Birds: What We Talk About When We Talk About Francis (Room 3)
* John K. Downey (Gonzaga University)
* Beth A. Mulvaney (Meredith College)
* Weston Kennison (SUNY Geneseo).

2:15 pm – 4:15 pm
Francis’s Legacy in the Thirteenth Century (Room 1)
* Daniel J. Schultz (University of Chicago), Moral Formation and Theological Discourse in 13th -century Franciscan Iconography
* Andrea Begel (Adelphi University), “Proud demons flee from the lofty virtues of the humble”: Saint Francis as Exorcist
* Brad Franco (University of Portland), The Pistoia Dossal and the Functions of Early Franciscan Art
* Donna Trembinski (St. Francis Xavier University), Where Have All the Doctors Gone: Illness and Care in the Lives of Francis from Thomas of Celano to Bonaventure.

Francis’s Legacy in the 20th century (Room 2)
* Christin Hancock (University of Portland), The Influence of St. Francis on Dorothy Day and the Catholic Worker Newspaper in the 1930s
* Amanda Minervini (Colorado College), From Mussolini to Pope Bergoglio: Political, Economic, and Social Legacies of St. Francis of Assisi in Modern Italy
* John Lawrence (LaGrange College), Images of Pilgrimage: The World of St. Francis and Padre Pio
* Ann M. Nicgorski (Willamette University), The Bonaventure Window at the Franciscan Friary in Athlone, County Westmeath, Ireland.

6:00 pm:
Plenary Lecture
* Fr. Michael F. Cusato, OFM (Dean, School of Franciscan Studies, Director of the Franciscan Institute and Professor of Franciscan Studies St. Bonaventure University), The Franciscan Fascination with the Future.

Sunday, 19 July 2015
3:15 pm:
Guided Tour of Franciscan Siena
Note: Those who wish to go on this free tour are to meet Dr. William Cook at the fountain (Fonte Gaia) in the Piazza del Campo at 3:15 pm.

5:30 pm:
Plenary Lecture
* Ronald B. Herzman (Distinguished Teaching Professor of English SUNY Geneseo), Dante’s Francis.

Monday, 20 July 2015
Field Trip to Assisi.

Learn more or view the Schedule.

Autour de la tenture de la Dame à la Licorne

Dama-co-liocorno

CALL FOR PAPERS: Autour de la tenture de la Dame à la Licorne. Féminité, désir, allégorie, Cinquièmes Rencontres de la Galerie Colbert, Institut national d’histoire de l’art (INHA), 2 rue Vivienne, Paris, 30 janvier 2016.

Pour cette cinquième édition, la Galerie Colbert ouvre à nouveau ses portes au grand public. Lieu historique conservant la mémoire du XIXe siècle et de ses fameux « passages », elle héberge depuis 2001 la plupart des établissements d’enseignement et de recherche d’Île-de-France en histoire de l’art, ainsi que l’Institut national du patrimoine.

Les Rencontres du 30 janvier 2016 permettront de visiter ce haut lieu de la recherche, de la formation et de la coopération internationale en histoire de l’art, et de découvrir les savoir-faire, les outils d’analyse, les méthodes d’examen et d’interprétation des chercheurs qui y œuvrent : historiens de l’art, de la littérature, des arts de la scène, de l’écran et de la photographie, ou conservateurs du patrimoine et des bibliothèques, et restaurateurs. De même, elles constitueront un moment de renforcement de la communauté scientifique de l’histoire des arts, en tissant des liens entre chercheurs confirmés et doctorants.

Selon le principe de cette journée, une œuvre a été choisie pour fédérer les réflexions et nourrir les débats, un chef-d’œuvre de l’art européen, qui a durablement marqué l’imaginaire des artistes et des créateurs, du Moyen Âge à nos jours : la tenture de la Dame à la Licorne.

Découverte, en 1841, par Prosper Mérimée dans le château de Boussac, la tenture de la Dame à la licorne acquise par le musée de Cluny en 1882, a bénéficié récemment d’une restauration et d’une nouvelle présentation. Parallèlement à ce travail, des études ont permis d’apporter de nouveaux éléments sur son attribution, ses commanditaires, sa possible signification… preuve d’un regain d’intérêt.

Tissée vers 1500, elle est composée de six tapisseries, qui reprennent les mêmes figures et éléments : sur une surface fleurie de couleur bleu sombre qui contraste avec le fond rouge vermeil parsemé d’animaux, d’arbres et de minuscules branches, une femme entourée d’emblèmes héraldiques est accompagnée d’une licorne et d’un lion, en référence probable aux armoiries du commanditaire.

Les interprétations de ce cycle, fleuron du patrimoine, sont nombreuses, de l’allégorie des cinq sens à celle des six vertus allégoriques courtoises du Roman de la Rose, en passant par le riche symbolisme de la licorne. Travaillant fortement l’imaginaire collectif, la figure de la Dame à la licorne a suscité de nombreuses reprises et appropriations jusque dans des propositions très contemporaines, comme dans les arts visuels et chorégraphiques…

Lors de ces Cinquièmes Rencontres de la Galerie Colbert, plusieurs axes de réflexion pourront ainsi être traités sur des sujets allant de l’Antiquité à nos jours, tels :
* Métier : tissage, question de la série, artiste/artisan, œuvre collective, couleurs, espace (perspective, profondeur), etc.
* Allégorie : sensorialité, cinq sens, etc.
* Féminité : courtoisie, virginité, pureté, désir, etc.
* Bestiaire : imaginaire, symbolique (programme iconographique), fabuleux, héraldique, etc.

Les contributions des chercheurs et la nature des ateliers, des tables rondes et des projections qui animeront cette journée couvriront le champ historiographique de cette œuvre et de ses développements, les enjeux de son élaboration, de sa réception et de sa conservation, mais aussi les échos et les résonances que ses problématiques peuvent entretenir avec des productions artistiques antérieures, ultérieures et contemporaines.

Tous les chercheurs, restaurateurs et conservateurs de la Galerie Colbert sont invités à participer aux Cinquièmes Rencontres de la Galerie Colbert en envoyant à Michael Decrossas, pensionnaire à l’INHA, leurs propositions de communication sous la forme suivante : Nom(s) et institution(s) de rattachement; Titre; Résumé de cinq lignes; Moyens techniques éventuels.

Date limite: 15 octobre 2015.

En savoir plus

Narrazioni e strategie dell’illustrazione

BOOK: Narrazioni e strategie dell’illustrazione. Codici e romanzi cavallereschi nell’Italia del Nord (secc. XIV-XVI), a cura di Annalisa Izzo e Ilaria Molteni, Roma 2014 (Viella), p. 176, 96 tav. col., € 30,00.

Mettendo l’accento su codici e testi a stampa illustrati, prodotti e circolanti nell’Italia del Nord tra i secoli XIV e XVI, questo volume studia la relazione che lega la narrazione cavalleresca al ricco patrimonio figurativo che l’accompagna o cui ha dato origine (miniature, illustrazioni a stampa, decorazioni pittoriche che abbelliscono palazzi pubblici o privati, oggetti d’uso quotidiano).

La centralità della materia cavalleresca nell’ambito del discorso di autorappresentazione e idealizzazione costruito dalle signorie padane tra Medioevo e Rinascimento costituisce un dato di fatto già messo in luce dalla critica.

I saggi qui riuniti intendono promuovere una prospettiva interdisciplinare che consenta di affrontare la lunga durata che caratterizza il fenomeno, nonché la molteplicità e l’eterogeneità di forme attraverso cui si esprimono e si declinano gli ideali cavallereschi in tale contesto storico-culturale.

Il volume propone inoltre, in anteprima, l’analisi di una recente trouvaille, vale a dire un microfilm che ci restituisce copia parziale di un testimone scomparso di uno dei più importanti cicli arturiani, il Guiron le Courtois.