Entries Tagged as 'Call for Papers'

Evidence of Power in the Ruler Portrait

CALL FOR PAPERS – Head and Body: Evidence of Power in the Ruler Portrait Between the 14th and 18th Centuries, Munich, Zentralinstitut für Kunstgeschichte, 1 – 2 December 2017.

What meanings do head and body convey in the medieval and early modern ruler portrait? How do its mimetic schemes and visual projections of power relate to each other? How are conceptually abstract norms and values of rulership transposed to categories of looking, how do images of bodies concretize these norms and values, and what modes of representation do they cultivate?

Research on the history of portraits has relegated these questions to the margins; we presently lack a systematic analysis. Nevertheless, head and body forged central attributes and categories for physical manifestations of rulership in the Middle Ages and early modern period. The specific conditions of their visual portrayal is therefore of particular interest.

Unlike in republican or democratic political systems, where the presence and legitimation of ruling power is supported by an elected government or a constitution, in principalities and monarchies the prince or king himself guaranteed the legitimacy of his own rule. He did this above all else through his physical body, whose visually and haptically experienced presence first lent the necessary evidence for his sovereignty.

The conference should comprehensively thematize the different normative, material, medial, functional, and aesthetic aspects of the corporeal and material presence of rulership in painted and printed ruler portraits from the fourteenth to the eighteenth centuries.

Applications for a lecture with an abstract of max. 3,000 characters can be sent to Matthias Müller. Conference languages: German and English.

Deadline: 30 April 2017.

Source: H-ArtHist

The Roll Format in Europe (Late Middle Ages)

CALL FOR PAPERS: The Roll Format in Europe in the Late Middle Ages / Le format de rouleau en Europe à la fin du Moyen Âge / Das Format der Rolle im spätmittelalterlichen Europa, Marsilius Kolleg, Im Neuenheimer Feld 130.1, Heidelberg (Allemagne), 30 mars 2017.

In recent years, the materiality of objects has received increasing attention in medieval studies. Even though material aspects of manuscripts had always been part of scholarship, materiality can offer new perspectives. The material turn has led to new avenues of theoretical and methodological approaches.

Heidelberg University’s Centre for Collaborative Research (SFB) 933 Material Text Cultures focuses on material artefacts in proto-typographical societies. Within the framework of the Heidelberg SFB Material Text Cultures, the project B10 Rolls for the King looks at rolls in royal administration and historiography in France and England in the later Middle Ages (1200-1500).

Rolls, however, were not limited to the royal sphere. The clergy and laity also used the roll format for their administrative, financial, military and judicial records, as well as religious and literary texts. The conference seeks to explore the materiality of rolls from all provenances, whether royal, princely, monastic or municipal, in their socio-political, cultural and administrative context in late medieval Europe (1200-1500).

We invite proposals for 30 minute papers that deal with questions such as:
* What was the purpose and function of the rolls?
* What were the advantages and disadvantages of the roll in contrast to other formats such as the codex?
* To what extent was there a connection between a roll’s form, material and content?

Presentations can be given in English, French or German. The proposals should include the title, an abstract (up to 350 words) and a brief CV. Please send proposals to Stefan Holz.

If accepted, speakers will have their travel and accommodation funded by SFB Material Text Cultures. A registration fee will not be charged. It is intended to publish the conference proceedings in the SFB series MTK (Material Text Cultures).

Deadline: 30 March 2017.

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Art on the Move

Art-in-the-Move

CALL FOR PAPERS: Art on the Move. Mobility in the Long Nineteenth Century, University of Birmingham, 12 – 13 January 2018.

Conference Organisers: Kate Nichols (University of Birmingham) and Barbara Pezzini (University of Manchester). Keynote Speakers: Pamela Fletcher and Tapati Guha Thakurta.

In the nineteenth century the circulation of works of art developed into its recognisably modern form. The forces of increasingly globalized capitalism, imperial routes and new means of transport, coupled with the growing reach of advertising and the press caused an unprecedented movement of artists, goods and materials. Larger audiences for art in newly founded museums and galleries across the world also contributed to, and benefitted from, this increased mobility of art.

Nineteenth-century mobility still awaits a thorough art historical investigation. This two-day conference aims to map, examine and problematize this emerging field. What is distinctive about the nineteenth-century circulation of art objects? How does mobility impact upon the modes of art production? Does it engender new subjects and materials? How important is the mobility of art to nineteenth-century art history? What impact does such transnational exchange have on national narratives of art? How are imbalances of power involved and developed through the mobility of art? How do the different networks of mobility – social, commercial and cultural – intersect? Which methodological approaches are best suited to this area of investigation?

The conference will be divided into principal thematic sessions, and we invite paper proposals of case studies or broader analyses that address some aspects of these interlinked beams:
* networks of production
* networks of cultural exchange
* networks of commerce
* networks of reception.

Potential topics may include: Visualising mobility and networks, mobility of people/objects, reproduction, replication and mobility, the ethics of mobility, enforced mobility, the role of art markets, refusal to move, and methodological approaches to mobility.

The conference will coincide with an exhibition dedicated to the works of Birmingham born engraver, miniature portraitist and photographer Thomas Bock (c.1793 – 1855) at the Ikon Gallery, Birmingham. In 1823 Bock was found guilty of “administering concoctions of certain herbs … with the intent to cause miscarriage” and was transported to the Australian penal colony of Van Diemens Land, where he was pressed into service as a convict artist. Bock’s artistic output includes portraits of Tasmanian Aborigines, his fellow criminals as well as free settlers in Hobart Town. Many of these images returned to Britain, although Bock himself remained in Australia until his death in 1855. This is the first exhibition dedicated to Bock’s work to be held in Britain. An evening reception will be held at Ikon, with a private view of the exhibition and curatorial reflections on exhibiting the circulation of artists and their work.

Please send paper proposals of a maximum length of 250 words, accompanied by a 150 words biography to artonthemove19@gmail.com.

Deadline: 31 March 2017.

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Le manuscrit universitaire au Moyen Âge

Pecia

CALL FOR PAPERS – Livres de maîtres, livres d’étudiants : le manuscrit universitaire au Moyen Âge (Commande, fabrication, décoration, utilisation, circulation, etc), Pecia. Le livre et l’écrit (Brepols Publishers) – Volume 21/2018.

Submissions should include a summary of the proposal (title and abstract, maximum 300 words) and a brief curriculum vitae. On completion of your submission you will receive a confirmation by email.

Deadline for abstract submission: 31 May 2017. Contact : Jean-Luc Deuffic.

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The Porous Body in Early Modern Europe

CALL FOR PAPERS: ‘The Porous Body in Early Modern Europe’, 1st Annual Conference of the Renaissance Skin project, King’s College, London, 30 November – 1 December 2017, organized by Hannah Murphy and Evelyn Welch.

This conference is organized as part of the Renaissance Skin project (@RenSkinKCL), funded by the Wellcome. Keynote speakers: Thomas W. Laqueur & Anita Guerrini.

In early modern medical theory, skin was imagined as a porous boundary. Plato, Hippocrates and Galen all agreed on the permeable quality of the skin, which the sixteenth century physician Mercurialis described as a ‘fisherman’s net’, easily pierced and difficult to protect.

Its porous nature invited speculation about sweat, urine, blood and tears, and its susceptibility to disease focused civic debates about the environment, atmosphere, humours and astrology.

Treatments like blood-letting, cupping and purging sought to maintain its integrity through the counter-intuitive manoeuvers of piercing it, while, as a canvas upon which the signs of disease could be read, it invited medical participation from lay and learned alike.

Écorché models, anatomical illustrations and artistic representations of flayed skin spoke to the ease with which skin could be set aside, even while new genres of portraiture, and artisanal cosmetic practices valorized it as a cultural determiner of beauty, purity and individuality.

The malleability of cutis in early modern artistic, medical and artisanal discourses called into question not just the healthy, moral individual’s relationship with skin, but the boundaries between medicine, the individual and their environment as well.

This interdisciplinary conference aims to consider the porousness of the early modern body as physiologically, emotionally, and socially constituted, depicted in art, debated in print and played out in a dizzying array of social practices.

Historical focus on skin has often been highly anthropocentric; but bodies were not just human; nor were the porous properties of skin defined by medicine alone. As flesh it was eaten, as fur it was worn, as leather it was worked.

We invite papers which consider the relationship of human, animal and matter and investigate the variety of ways porousness was understood. In considering the broad dimensions of porous bodies, and the many reasons these ideas changed, this conference investigates boundaries between nature and culture, animal and artifice, human and other.

We invite proposals for papers or panels addressing all aspects of The Porous Body, including, but not limited to:
- Skin as a surface – porousness, hair, nails, leather, shells, fur, complexion
- Skin as a net – excretion, accretion, incretion
- Treating skin – bleeding, lancing, leeching, cosmetics, skin diseases
- Using skin – leather, fur, dress, craft
- Thinking skin – metaphors and analogies, gender, beauty, subjectivity, senses and sensation, complexion, purity, cultural contact and sociability
- Living with skin – skin diseases, skin variations, animal skin, human skin.

Proposals for 20-minute papers should be sent to Hannah Murphy and Evelyn Welch at renaissanceskin@kcl.ac.uk. Selected participants may be invited to submit essays to a conference volume planned for 2018.

Deadline: 30 May 2017.

Source: H-ArtHist

The Saints of Rome

CALL FOR PAPERS – The Saints of Rome: Diffusion and Reception from late Antiquity to the Early Modern Period, Accademia d’Ungheria in Roma, Palazzo Falconieri, Via Giulia 1, Roma, 4 – 6 October 2017.

The saints of Rome have always been among the most venerated and the most popular heavenly patrons in Christendom, grafting the noble air of universality and integration onto emerging Christian cultures. From the apostles and Early Christian martyrs through the Early Modern period and beyond, the textual and material dissemination of Roman saints made a significant impact on the rise of the cult of the saints. Saints living in Rome (from Bridget of Sweden to Catherine of Siena and from Francesca Ponziani to Filippo Neri) were role models all over the Christian world. Post-Tridentine Roman cults spread by the Society of Jesus and the revival of catacomb cults brought a new wave in the world-wide cult of the saints of Rome in the early modern period.

What strategies, mechanisms and considerations informed the spread of the cult of the saints of Rome? Who were the actors: Roman ecclesiastical hierarchy or local communities? How did these cults transform through local reception in diverse local contexts? How did pilgrimages and Jubilees promote the cults of Roman saints? Did “Romanness” assure efficacious links with the centre of Christendom or possess a symbolical meaning? In what ways did the saints of Rome impact local saints’ cults?

The conference aims at discussing the ways in which the cults of the saints of Rome were accepted and negotiated, defined and redefined over the centuries in Latin Christianity. What is the politics of the export and import of Roman saints? To what extent do Roman saints shape and define medieval and Early Modern Latin culture in the new Christianities of Europe, Asia, and America? Does the export of the saints conform to individual and regional interests or rather to the political and cultural agenda of the papacy? Inquiries on these issues in various media (texts, images, relics, devotional objects and architecture, liturgy, music) are welcome.

We invite papers dealing with the genesis and expansion of Roman saints’ cults from the fourth to the seventeenth century focusing on, but not limited to topics such as:
- the politics (mechanisms and goals) of the diffusion of Roman saints’ cults in Latin Christianity and beyond
- impresarios of the promotion of Roman saints’ cults
- the means of diffusion – art, liturgy, relics
- intra- and inter-regional influences, the transfer of models of sainthood
- the transformation of Roman saints abroad and the dynamics of territorial differences
- the creation of a Roman identity for foreign saints.

The proceedings will be published in the Hagiotheca Series Colloquia by the Croatian Hagiography Society.

Please send your 300-word abstract of a 20-minutes paper by 15 March 2017 to: sanctiromae@gmail.com. The official language of the conference is English.

Deadline: 15 March 2017. Notifications about acceptance will be sent out by 30 March.

Source: H-ARTHist

Editing the Antique

CALL FOR PAPERS – Editing the Antique: Copies of Illustrated Antique and Late Antique Manuscripts between 800 and 1200, 44th Saint Louis Conference on Manuscript Studies13 – 14 October 2017, Organizer: Sabine Utz (University of Geneva).

Faithfulness to the model played a particular role in one specific type of object produced in the early Middle Ages: illustrated manuscripts of antique and late antique texts. Often linked with didactic purposes, the content of these books ranges from classical authors like Terence and Virgil, to astronomical poems and mathematical or medical texts. Antique texts were repeatedly copied throughout the Middle Ages with sets of images or diagrams forming closely-knit iconographic traditions that have enabled scholars to trace their genealogies and attempt reconstructions of the archetype when it was lost.

Rather than looking at these manuscripts as copies of a model, what happens if we consider each of them as a specific new edition that adapts the old material to its own means and audience? Be it a drawing of an aloe vera plant or the constellation of Orion, a mathematical diagram or an illustration of Virgil’s poems, why were these images so diligently reproduced from one manuscript to the next? The authority of the Antique reference works seems to have limited the autonomy not only of the text but also of its images both on the iconographic and the stylistic level.

On the other hand, each new exemplar altered the model in its own way, sometimes by slight changes, sometimes by more important ones. While style most obviously reflects its context of production, these alterations also affect layout, the relationship of the image with the text and some iconographical details. The aim of this session is to explore questions that arise from this tension, such as the necessity of these images, their visual functions and specificities, or their understanding by the medieval copyist and audience.

Papers are welcome both on case studies of particular manuscripts or groups of manuscripts and on broader approaches. They could also explore other visual material for which this editing process can be questioned. In parallel, papers may consider the implications of this data as regards reception and circulation of the antique and late antique texts between 800 and 1200.

Please send proposals with paper titles and 200-word abstracts to Sabine Utz at Sabine.Utz@unige.ch and do not hesitate to write with any questions.

Deadline for proposals: 10 March 2017.

Source: H-ArtHist

The Book as a Medium

CALL FOR PAPERS – The Book as a Medium: Medieval Manuscripts and Their Functions, University of Vienna, Vienna, 1– 2 September 2017.

As an object of scientific investigation every manuscript is a matter where several fields of re-search intersect. Thus, working with manuscripts generates the wish to improve interdisciplinarity by connecting different subject areas and interlinking their specific approaches and professional questions. With this in mind, we invite junior researchers whose work explores 12th-to-15th-century manuscripts from Euro-Mediterranean regions to participate in our meeting on “The Book as a Medium – Medieval Manuscripts and Their Functions”.

A single look at a medieval manuscript reveals a highly complex structure. It comprises numerous material components such as writing materials and the binding, on the one hand, and medial functions of the manuscript in its role as an intellectual creation for the purpose of knowledge transfer, on the other hand. Traditionally, the work of most experts serves disciplinary interests and focuses on specific characteristics like illumination or text.

However, in the course of studies it usually turns out that medieval books can be more than mere repositories of knowledge. In fact, the varying and countless combinations of content, writing, layout, binding and, in many cases, illumination produced examples of highly individualised design, all of which served different areas of interest such as law, theology, liturgy, sciences, philosophy, literature, music, and medicine, and rooted in different institutional contexts like universities, monasteries etc.

In addition to this, books met highly specific requirements in terms of representative, symbolic or performative functions. So, today, many of the manuscripts shed light not only on the persons who ordered them and the history of libraries but also on questions of knowledge transfer in medieval times, and they carry information about the trading of manuscripts and the process of book production as such.

Our meeting of doctoral students at the Vienna University is designed to bring together junior researchers who wish to submit their reflections on the functions of Euro-Mediterranean manu-scripts from the 12th to the 15th century to an international and interdisciplinary audience. Ad-dressees are all those in the humanities and cultural studies whose contributions will help to deepen our expertise on the subject. To strengthen the international network of junior research-ers is a further goal of our conference.

Possible session titles would be:
* Books and their commissioners
* Books as objects of representation
* Books in context of law/jurisprudence
* Codicology
* Text and image
* Books as performative objects
* Books endowing identity
* Books in liturgical use
* Books and knowledge transfer
* Books and music.

Please send an abstract or proposal (max. 500 words) and a short CV (max. 150 words) by e-mail.

Deadline: 3 March 2017. Accepted participants will receive notification by e-mail not later than April 1st 2017.

Source: H-ArtHist

Layers of Parchment, Layers of Time

CALL FOR PAPERS - Layers of Parchment, Layers of Time: Recon- structing Manuscripts 800 – 1600, Pembroke College, University of Cambridge, Friday 23 June 2017.

During the eighteenth and nineteenth centuries, thousands of medieval and Renaissance manuscripts were removed from libraries and monasteries all over Europe, and their folios were cut out and sold.

Layers of Parchment, Layers of Time: Reconstructing Manuscripts 800 – 1600, is an interdisciplinary day-long symposium that will explore various issues surrounding the complex subject of manuscript reconstruction.

Our goal is to foster dialogues—between different disciplines—on how to approach dismembered manuscripts from intellectual and practical perspectives.

The symposium will features panels, that are composed thematically rather than by academic discipline, a round table discussion, a keynote, and a viewing of individual manuscript leaves from a Cambridge collection.

We invite the submission of papers on the following topics (although most certainly not limited to):
* The manuscript as an object made in layers over time
* Digital reconstruction of manuscripts
* New approaches to understanding reception
* Methodologies for tracing lost/stolen fragments and leaves
* Methodologies for reconstructing manuscripts
* Economic, political, and legal consequences of reconstructing manuscripts
* Reconstructed manuscripts in their original contexts
* Modern methods of preservation for loose fragments/leaves
* The art market as a means for fragment/leaf distribution
* The role of collectors (public institutions and private individuals).

We encourage graduate students as well as established scholars to apply. Papers will be scheduled for 20 minutes. Please submit your abstract, of no more than 300 words to Dr. Kathryn Rudy and Stephanie Azzarello. Along with your abstract please include your name, institution, paper title and brief biography.

We strongly encourage you to consider your paper as a performance, rehearse it well, and to avoid reading directly from the page, if possible. Successful applicants with be notified by 10 February 2017.

Dr David Rundle will give the keynote paper, titled Utopia, Babel and Dystopias, past and present.

Deadline: 11 February 2017.

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Beyond Reproductive Printmaking

CALL FOR PAPERS: Beyond Reproductive Printmaking. Prints and the Canon of European Painting (ca. 1500 – 1810), Dresden Institute of Art and Music, Dresden, 18 – 19 September 2017.

Conference for Ph.D. students, postgraduates and researchers at museums and universities in the Kupferstich-Kabinett (Museum of Prints, Drawings and Photographs) of the Staatliche Kunstsammlungen Dresden (Dresden State Art Collections) in colaboration with the TU Dresden Institute of Art and Music, Dresden, 18-19 September 2017.

Are paintings reproduced because they are famous, or have they become famous because they have been reproduced over and over again in the past centuries? The aim of this conference is to throw light on the status of reproductive prints in the process of the formation of (an) artistic canon(s). It aims at exploring artistic and technical aspects of the creative and innovative making process, including the printmakers’ ability to translate the original work into a new pictorial language and to the history of both reception and transmission of works of art.

The conference will cover the period running from the early 16th century to the introduction of the first lithographic press in the early 19th century. Geographically, the focus is on Europe. No restrictions are imposed concerning printing techniques – on the contrary, the characteristics of each technique as well as its ability and uses for reproducing original paintings constitute an important topic.

We invite submissions of papers drawing from current research on specific prints or series of prints as well as on new theoretical approaches and methodologically promising developments in the study of interpretative prints, also exploring their potential as a source and as a subject matter of art history.

In particular we welcome submissions in (but not limited to) the following areas:
- Yet again: The original and its graphic interpretation(s): How are collaboration and competition amongst the printmakers themselves, and between the engravers and the painters represented in the prints? To what extent did the engravers take liberties with the paintings’ details? Did printmakers even perhaps hide critical or satirical messages in their interpretations?

- Questions of style: How is the painterly style of the original expressed in the graphic medium? What is the relationship between the printmaker’s technique and the pictorial style or the genre of the original? Is there experimental ground for innovations in new printmaking techniques? What role do special printmaking techniques – e.g. outline etching, aquatint or colour(ed) print – play in the processes of translation and interpretation?

- Reception: How were differences in style and in composition between the original and its reproduction perceived by the contemporary viewer? Is it possible to identify links between prints and theoretical writings on certain paintings or painting in general? Which influence do captions have in the process of reception?

- Reproductive prints as a source for new approaches in scholarship: What potential do reproductive prints have as a source for the study of canon formation and for (art) historical network research? How can the pictorial and textual information contained in those prints be gathered, and how can this be made accessible for practical use?

An important objective of the conference is to encourage networking between academic researchers and museum professionals. Proposals by both doctoral candidates in art history and aesthetics as well as students aiming at a Ph.D. in the field of the graphic arts are welcome. We also invite applications from curators and postgraduate researchers at museums and other research institutions and we are pleased to receive papers from colleagues working in media studies, philosophy and history.

Please submit your proposal in the form of a 400-word abstract and a short CV and send it to beyond-reproduction-2017@gmx.de as a PDF file (in English or German). Please indicate in your proposal those prints that you wish to discuss in the original. We will be happy to check if they are available in the Kupferstich-Kabinett.

Deadline: 15 February 2017.

Source: H-ArtHist

Power of the Bishop III

CALL FOR PAPERS – Power of the Bishop III: Bishops as Diplomats 1000-1400, Cardiff University, 1-2 June 2017.

This two-day conference will explore the importance of diplomacy in a bishop’s career. How bishops responded to situations was often crucial to building or destroying their reputations, and, sometimes, their very lives depended on their ability to exercise their diplomatic skills. This conference aims to explore the common themes regarding the use and development of diplomacy in a bishop’s career; how and when was it deployed, and in what circumstances? What impact did the Gregorian Reforms and Investiture Crisis have on this aspect of a bishop’s skill-set?

Most importantly, how do we see diplomacy expressed? As well as through legal agreements and treaties, we would like to explore the role of diplomacy in other areas, including but not limited to: the architecture of the Cathedrals and Bishop’s Palaces, the various uses of the landscape, the visual elements within manuscripts that bishops patronised, the types of gifts given and exchanged; the choice of special dates and feast days to mark particular events.

Please send abstracts of 200 words to powerofthebishop@gmail.com.

Deadline for Abstracts: 20 February 2017.

Le collezioni degli artisti in Italia

CALL FOR PAPERS: Le collezioni degli artisti in Italia: trasformazioni e continuità di un fenomeno sociale tra Cinquecento e Settecento, Roma, BSR British School at Rome, 22 giugno 2017.

Un aspetto tra i più affascinanti del collezionismo in età moderna riguarda le raccolte assemblate da artisti. L’analisi di varie tipologie di fonti e in particolare la consultazione degli inventari permette di osservare da un punto di vista privilegiato la personalità e il ruolo sociale del collezionista, risultando di grande interesse nel caso in cui il creatore della raccolta sia un artista.

Nelle abitazioni, nelle botteghe e negli studi si incontrano, insieme ai beni attinenti alla pratica del mestiere, opere esposte seguendo validi criteri di allestimento, oltre a pezzi d’antichità e oggetti di varia natura. Non sempre si tratta di un’accumulazione arbitraria, ma generalmente il possesso di queste opere riflette una precisa volontà collezionistica, frutto di orgoglio personale, di pura speculazione commerciale o del desiderio di collocarsi a un livello più alto nella scala sociale.

Nonostante la vasta bibliografia presente sull’argomento, il fenomeno merita di essere approfondito, considerando come tra il Cinque e il Settecento si è modificato il modo di operare degli artisti nelle diverse realtà italiane. Il convegno intende affrontare i molti aspetti di un tema delicato e problematico e fornire l’occasione di un valido confronto tra epoche e contesti cittadini diversi dal punto di vista sociale. L’emergere di differenze e analogie nel complesso panorama italiano permetterà di osservare i vari profili assunti dagli artisti (dal conoscitore all’antiquario, dall’intellettuale al mercante).

Gli interventi possono sia affrontare casi già conosciuti ma analizzati con un approccio innovativo, sia presentare documentazione inedita, utile ad ampliare la conoscenza del tema. Saranno accolte in particolare proposte relative ai seguenti argomenti:

1) ARTISTI-COLLEZIONISTI: quali artisti in Italia si distinsero come collezionisti?

2) DOCUMENTAZIONE: notizie che mettano in luce la tipologia della collezione.
- Inventari di artisti dal ‘500 al ‘700: confronti o singoli casi; interpretazione del loro contenuto: interesse per le opere originali – copie da altri maestri – non finiti – antichità – naturalia e curiosa – medaglie – libri; la casa dell’artista (disposizione degli oggetti all’interno dei vari ambienti);
- Testamenti: la famiglia, vicende ereditarie;
- Testimonianze epistolari.

3) SFERA SOCIALE: notizie che mettano in luce la situazione sociale e intellettuale dell’artista (botteghe – studi – accademie, commercio antiquario).
- Quanto incisero i rapporti con mercanti e agenti, con famiglie nobili o con cardinali?

Le proposte dovranno essere inviate in forma di abstract (max 2000 battute) unitamente ad un breve CV agli organizzatori Francesca Parrilla (Fondazione 1563 per l’arte e la cultura della compagnia San Paolo) e Matteo Borchia (Sapienza Università di Roma). I contributi potranno essere presentati in italiano, inglese, francese o tedesco. L’organizzazione non coprirà le spese di viaggio e di soggiorno. Le relazioni saranno incluse nel volume “Le collezioni degli artisti”, curato da F. Parrilla e M. Borchia, la cui pubblicazione è prevista entro il 2018.

Deadline: 28 February 2017.

Source: H-ArtHist