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Call for Papers - XXXI. Deutscher Kunsthistorikertag, Würzburg, Julius-Maximilians-Universität, 23.-27. März 2011. E-Mail: info@kunsthistoriker.org.

GENIUS LOCI

In Würzburg und seiner Region ist seit dem frühen Mittelalter in bemerkenswerter Dichte und Kontinuität eine häufig internationalen Maßstäben standhaltende Kunsttätigkeit möglich gewesen. Dieses reiche und vielschichtige Patrimonium hat die Sektionsthemen provoziert. Sie nehmen dezidiert von solchen Aspekten der Würzburger Kunstgeschichte ihren Ausgang, die in weitere Horizonte führen und damit prinzipielles Interesse beanspruchen, zugleich neue Einsichten und methodische Reflexion fördern können. Besonders willkommen ist, daß dabei wichtige Arbeitsbereiche diskutiert werden, die auf Kunsthistorikertagen bislang kaum vertreten waren. Auch die Problematisierung des heutigen und künftigen Umgangs mit dem Erbe und nicht zuletzt unsere Verantwortung für die bildungspolitischen Voraussetzungen drängen sich in einer Stadt wie Würzburg geradezu auf. Das Motto beschwört also in erster Linie die gewiß inspirierende Substanz der Würzburger Kunstgeschichte, mit der sich zu konfrontieren auch Orts- und Museumstermine, Ausstellungen und Exkursionen Gelegenheit geben werden. Es regt darüber hinaus die Auseinandersetzung mit der Frage an, wie wir uns in Zeiten einer sich an globale, manchmal ortlos verschwimmende Weiten gewöhnenden Kunstwissenschaft der Herausforderung des historisch gewachsenen, komplexen Systems einer lokalen Identität angemessen stellen können.

Sektion 1: Früh- und hochmittelalterliche Buchmalerei, Wolfgang Augustyn, München / Fabrizio Crivello, Turin

Würzburg war seit Gründung des Bistums im 8. Jahrhundert ein wichtiges Zentrum der Buchmalerei, wie illuminierte Handschriften des 8. und 9. Jahrhunderts belegen; bekannt sind illuminierte Handschriften aus Würzburg ebenso aus ottonischer Zeit wie aus dem 13. Jahrhundert. Der Tagungsort lädt zur Frage ein, welche Bedeutung Kathedrale und Klöstern bei der Buchproduktion von der ottonischen Zeit bis ins ausgehende 12. Jahrhundert zukam und welche Anregungen dabei berücksichtigt wurden. Neben den Problemen von Stil und Ikonographie rückten in den letzten Jahren in der Forschung zur Buchmalerei vermehrt auch Fragen zur Funktion des Buchschmucks und zur Organisation und Arbeitsweise von Ateliers in den Blick. Neue Fallbeispiele können die vielfach ungeklärten Entstehungs- bedingungen von Handschriften im Hoch- und Spätmittelalter weiter erhellen. Welche Rolle spielen laikale, nicht bei geistlichen Gemeinschaften angesiedelte Buchmalerateliers in den Städten? Inwieweit kam es zu Herstellung und Buchschmuck unter Bedingungen von Arbeitsteiligkeit und Spezialisierung? Welche Verbindungen – Beziehungen, Abhängigkeiten, Differenzen – gibt es in dieser Zeit zwischen Buchmalerei und Wandmalerei?

Interessierte Kolleginnen und Kollegen sind herzlich aufgefordert, ihr Exposé (1-2 Seiten) an die Geschäftsstelle des VDK zu senden. Die Auswahl der Vorschläge (pro Sektion sind fünf 30-minütige Vorträge möglich) nehmen in gemeinsamer Sitzung die Sektionsleiter/innen und die Vorstandsmitglieder vor. Einsendeschluß für Exposés: 25. Mai 2010.

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CALL FOR PAPERS - 2011 Annual Conference of the Renaissance Society of America, 24-26 March, Montreal (Quebec, Canada): The Divine Painter Figure. Demiurgical Portrait and Self-Portrait.

Few people have risen the question of the Renaissance self-portrait from the point of view of the scenario of production, in the sense of Victor Stoichita’s terms. By involving the idea of a learned visual assembly established by the artist, the scenario of production takes its own line on the painting and on the figure of the artist. In the context of the new status of painting in the Quattrocento as a liberal art, we propose to examine how the artist presents himself in his own pictorial scenography.

With this in prospect, the christomorphism of Dürer and its strategy which consists in using the very strongly stressed religious imaging’s connotations is well known. But how acts more precisely the painter who watches himself painting, the one who plays with usurpation and camouflage of identity and disguised himself as saint Luc or as other sacred characters? Within the genre of the self-portrait, how to consider the emphasis placed on a physical motive, the painter’s hand, which refers inexorably to the artistic literature of the period and to the inseparable link between concetto (the designo, design and invention) and componimento inculto? And if we return to Aby Warburg’s sentence, “God is in the details”, what can reveal the intimist micrography of the Northern artists about their artistic position in the realization of self-portraits within the painted mirrors?

Particularly welcomed are the papers dealing with anthropological modalities of the portrait and self-portrait as a demiurge, in the visual arts of the Renaissance. From the notions of ressemblance and identification, we would like to analyze the pictorial dispositives and the discourses on art in order to understand the aesthetic motivations of the artists to represent themselves as the alter-ego of the God of the Judeo-Christian thought.

Topics may include, but are not limited to:
- The literary or philosophical use of the demiurgic metaphor
- The painter and the Imitatio Christi
- The self-portrait as a saint and the variants assimilating the painter to the divine
- The «mise en abyme» of the iconography of saint Luc by the painters
- The legends relative to the Mandylion of Edessa, to Veronica’s veil, to the real portrait of the Christ
- The notion of resemblance and fictious resemblance
- The avatars of the demiurgical analogy in the Icon or in the Non-Western Arts during the modern period, and also the posterity and the reception of this ancient paradigm until contemporary period.

Please send an abstract (150 words maximum) and a CV (including and institutional affiliation and contact information) by 21 May 2010 simultaneously to the organizers: Florence Chantoury-Lacombe (invited professor, Department of art history and cinematographic studies, Université de Montréal) and Natacha Pernac (Université Paris-Sorbonne / Université Lille 3). Speakers must be members of the RSA at the time of the conference.

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CALL FOR PAPERS - 2011 Annual Conference of the Renaissance Society of America, 24-26 March, Montreal (Quebec, Canada): The Arts of the Other Friars: Cultural Production of the Smaller Mendicant Orders. Contact: Joseph Hammond (University of St Andrews). Co-Organiser: Arnold Witte (University of Amsterdam).

This panel will examine the differing approaches and roles that Mendicant Orders other than the Franciscans and Dominicans took to the arts in the Renaissance. Many such smaller Orders, for example the Carmelites or the Servites, proliferated from the fifteenth until the seventeenth centuries, and their involvement with, use of, and impact on the cultural productions of the time has received relatively little study in comparison with the two largest Mendicant Orders. This panel will take both an exploratory and comparative approach, considering such questions as: how and in what ways do these Orders manifest similarities to, or differences from, the artistic productions of their larger mendicant brothers? Do the same paradigms of corporate identity and promotion still apply? How are they influenced by specific locations? What is distinctive about their liturgical and devotional practices that is reflected in their cultural productions?

All areas of cultural production (painting, sculpture, music, manuscripts, architecture, etc), locations and mendicant orders besides the Franciscans and Dominicans will be considered. Please send abstracts (of 150 words maximum) for a 20 minute paper. Provide a brief CV, with full name, email address, institutional affiliation, title of paper and any A/V requirements you may have. Deadline: 17 May 2010.

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CALL FOR PAPERS: Conference on Trecento Art in Memory of Andrew Ladis, The Georgia Museum of Art and The University of Georgia,  11-13 November 2010.

The Georgia Museum of Art and the University of Georgia have sponsored symposia on Italian art for almost two decades. In 2010, to honor the memory of Andrew Ladis (d. 2007), they are returning to the original concept: art of the fourteenth century. The fourteenth century the organizers have in mind is a long one, from roughly 1260 through 1453. Rather than focusing on a single city, style, medium or artist, the conference will be open to any topic related to art produced in the Mediterranean basin that in some way reveals the impact of, exchange among, or presumed  hegemony of Italian art.

The conference will meet in Athens (Georgia) in the campus of the University of Georgia. Opening events are scheduled for Thursday, November 11, 2010, and papers will be sented on Friday and Saturday, November 12 and 13, 2010.

Proposal abstracts are to be submitted by 8 May 8 2010. To send proposals or for further information, contact: Shelley E. Zuraw or Asen Kirin, Lamar Dodd School of Art, 270 River Road, University of Georgia, Athens, GA 30602.

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