Entries Tagged as 'Call for Papers'

Convegno di Storia della miniatura

CALL FOR PAPERS: Citazione, riuso e revival nel libro miniato tra medioevo ed età moderna, Convegno di Storia della miniatura, Dipartimento di Studi Umanistici – Università della Calabria, Arcavacata di Rende, 27 – 29 settembre 2018.

Il Convegno è riservato ai Soci della Società Internazionale di Storia della Miniatura in regola con l’iscrizione e a Studiosi della disciplina che vorranno entrare a far parte dell’Associazione. Le relazioni sul tema indicato non dovranno superare i 20/25 minuti. Esse saranno pubblicate, previo giudizio del Comitato scientifico e di un blind referee. È prevista anche una sessione dedicata alle Comunicazioni dei Soci, della durata di 10 minuti, sulle ricerche in corso non attinenti al tema del Convegno.

L’organizzazione si farà carico della sola ospitalità dei relatori durante i giorni del convegno; le spese di viaggio saranno a loro carico. Per i relatori più giovani (laureandi, dottorandi, dottori di ricerca) sono previste agevolazioni.

Comitato Scientifico: Paola Guerrini, Susy Marcon, Giordana Mariani Canova, Massimo Medica, Giulia Orofino, Alessandra Perriccioli Saggese, Emilia Talamo, Federica Toniolo e Giusi Zanichelli.

Per la partecipazione è necessario inviare, entro il 20 gennaio 2018, titolo e abstract dell’intervento (qui).

Bulletin of the John Rylands Library

CFP: Bulletin of the John Rylands Library. Submissions to this peer-reviewed journal are invited.

The Bulletin of the John Rylands Library was established in 1903. A revised scope has been established for the journal: some of the highlighted areas will be of interest to members of this list.

The John Rylands Library in Manchester houses one of the finest collections of rare books, manuscripts and archives in the world. The collections span five millennia and cover a wide range of subjects, including art and archaeology; economic, social, political, religious and military history; literature, drama and music; science and medicine; theology and philosophy; travel and exploration. For over a century, the Bulletin of the John Rylands Library has published research that complements the Library’s special collections. The editors invite the submission of articles in these fields and welcome discussion of in-progress projects.

Areas of particular interest include, but are not limited to:
· Manuscript and archive studies
· Textual transmission and bibliographical studies
· The histories of printing and publishing
· The transmission and reception of the Bible
· The history of religion, with particular regard to evangelical Christianity and the Dissenting and Nonconformist traditions
· Visual culture, including manuscript illumination and the printed image
· Social and cultural history, and the history of medicine.

The editors also invite the submission of descriptive articles or shorter notices pertinent to items in the Library collections and those held in other institutions of the University of Manchester. Further information can be found in the Library’s Guide to Special Collections.

Source: H-ArtHist

Painting Miniatures in Italian Convents

CALL FOR PAPERS: The Colors of Paradise. Painting Miniatures in Italian Convents, ca. 1300-1700, 5th Annual Jane Fortune Conference, The Library of San Marco, Florence, 11 – 12 October 2018.

Since the late Medieval period, members of female religious communities have engaged in the making of small-scale paintings, or miniatures, on a wide variety of supports. Many of these miniatures were produced to ornament liturgical and devotional books; others graced objects such as candles and altar frontals.

While nuns’ activity in this realm has been documented quite extensively in northern Europe, the Italian production of miniatures is less understood, aside from case studies of a few individuals such as Eufrasia Burlamacchi (1482 –1548). It is hoped that this conference will not only consolidate what is known about the production of miniatures by Italian nuns, but also catalyze new research.

To encourage reflection upon the continuity of technical practices and models across arbitrary period divisions, the time frame of this conference has been extended broadly. Insight obtained through technical examination or the material analysis of nuns’ artworks will be especially welcome.

Suggested Paper Topics:

* Technical studies identifying pigments, binding media, or supports for miniatures produced in or for Italian convents
* New attributions of miniatures to Italian nun artists
* Biographical studies on Italian nuns who made miniatures
* Analyses of the visual or textual sources of the iconography of Italian nuns’ miniatures
* Miniature painting considered within the context of liturgy, devotional practices, and the organization of the conventual life of Italian nuns.
* The commissioning, gifting, and circulation of works containing Italian nuns’ miniatures
* Comparitive studies of miniatures and Italian nuns’ work in other media such as embroidery
* Considerations of the technical know-how and workshop materials available to Italian nuns, as well as their collaborations with artisans outside the convent
* Reflections on problematic issues in the current historiography on the topic, and on methodology.

This conference is co-organized by The Medici Archive Project and the Museo Nazionale di San Marco.

To apply: please send a CV and a brief abstract of your paper, in English or Italian, to: barker@medici.org. Decisions will be announced within three weeks. Limited funding may be available for travel and lodging.

Deadline: 15 January 2018. Papers may be given in Italian or English.

Source: H-ArtHist

Illuminating Metalwork

CALL FOR PAPERS – Edited volume: Illuminating Metalwork: Metal, Object, and Image in Medieval Manuscripts. Volume editors: Joseph Salvatore Ackley and Shannon L. Wearing.

Historians of Western medieval, Byzantine, and Islamic art are invited to contribute essays to a volume on the representation of precious metalwork in medieval manuscripts.

The makers of medieval manuscripts frequently placed special emphasis on the depiction of precious-metal objects, both sacred and secular, including chalices, reliquaries, crosses, tableware, and figural sculpture. Artists typically rendered these objects using gold, silver, and metal alloys, “medium-specific” materials that richly and pointedly contrasted with the surrounding color pigments.

The visual characteristics of these depicted metal things—lustrous yet flat, almost anti-representational—could dazzle, but perhaps also disorient: they grab the eye while creating a fertile tension between the representation of an object and the presentation of a precious stuff, between the pictorial and the material. A gold-leaf chalice signals its referent both iconically, via its shape, and indexically, via its metal material—a semiotic duality unavailable to the remainder of the painted miniature—and such images might accrue additional complexities when intended to represent known real-world objects.

This volume of essays will take inventory of how manuscript illuminators chose to depict precious metalwork and how these depictions generated meaning. The prominent application of metal leaf is one of the most distinguishing features of medieval manuscript illumination (only those books thus decorated technically merit the designation “illuminated”), and yet, despite its hallmark status, it has rarely served as a central subject of scholarly scrutiny and critique. In addressing both the use of metal leaf and the representation of precious-metal objects (via metallic and non-metallic media alike), Illuminating Metalwork seeks to remedy this lacuna.

This volume will enhance traditionally fruitful approaches to medieval manuscript illumination, such as those analyzing text/image dynamics, pictorial mimesis, or public vs. private reception, by considering issues of materiality, preciousness, and presence. By focusing on the representation of precious metalwork, these studies will introduce new paths of inquiry beyond the depiction of actual objects and incorporate analyses of the use and simulation of metallic preciousness more broadly.

We invite essays that represent the full temporal and geographic scope of medieval manuscript painting—from Late Antiquity into the early modern era, from the Latin West to the Byzantine and Islamic East—in order to foster trans-historical and cross-cultural analysis. Possible themes include:
* chronological/geographical specificities in the representation of metalwork in manuscript illuminations;
* depictions of precious-metal figural sculpture, including idols;
* artistic technique and technical analysis (e.g. pigment vs. leaf, and the alloys used therein);
* the semiotics of metal on parchment; the phenomenology of the encounter;
* whether we can speak of “portraits” of particular objects and/or visual “inventories” of specific collections.

Deadline: 1 December 2017 (a proposal of 500 words and brief bio). Notification of submission status: 15 December 2017. Anticipated submission of completed texts: 1 October 2018.

Please direct to Joseph Ackley and/or Shannon Wearing all inquiries and submissions.

Source: H-ArtHist

Kunsttexte: Original – Kopie – Fälschung

CALL FOR PAPERS: Original – Kopie – Fälschung.

Since the artistic production of artefacts, copies have also been made – for representative, dynastic, political or purely decorative purposes. The numerous imperial busts put up in the Roman provinces were important for the power preservation of the Roman Empire. While through copies of Greek busts and sculptures, which were well liked with the Roman patricians, antique Greek artworks that would otherwise be lost have outlasted till today.

However, the copy becomes a forgery when it is presented as an original thus attributing an unworthy fame and wealth to the artist. Leon Battista Alberti reports with reference to the antique sculptors Kalami and Zenodorus about such artists: “Sunt qui aliorum pictorum opera aemulentur, atque in ea re sibi laudem quaerant” (“There are those whose ambition passes to copy the works of other painters and to reach in this manner to success”, De pictura 58).

From Michelangelo is delivered that he took part in an art fraud, passing off a figure of a sleeping Cupid as an antique sculpture – the attempted fraud, which has been discovered, has not damaged his career at all, on the contrary.  Also in the present, there are cases of spectacular forgeries over and over again which, as the example of the Starry Messenger (Sidereus Nuncius) of Galileo Galilei shows, can also lead to scientific misinterpretation.

We welcome contributions which lend themselves to the understanding of original, imitation, copy and forgery works in connection with the Middle Ages and the Renaissance. Different questions and perspectives are possible such as:
– aesthetic and art-philosophical positions to the question of original and imitation, to concepts like imitatio, aemulatio, inventio, novitas etc in the Middle Age and the Renaissance
– the significance of copies and replicas for the development of art practice and art theory
– case studies of art forgeries in the Middle Ages and the Renaissance or from forgeries of medieval and renaissance art periods in later epochs or the present.

Subject proposals: 30th of June 2017; and finished articles 31st of January 2018. The contributions can be written in German, English, French, Italian or Spanish.

For further inquiries and abstracts, please contact: Angela Dressen, Susanne Gramatzki and Berenike Knoblich.

Read more information about the Open Access Journal Kunsttexte and the editorial staff directives under.

Source: H-ArtHist

Ghiberti teorico


CALL FOR PAPERS: Ghiberti teorico. Natura, arte e coscienza storica nel Quattrocento, Kunsthistorisches Institut in Florenz, Via Giuseppe Giusti 44, Firenze, 30 novembre – 2 dicembre 2017.

La produzione di Lorenzo Ghiberti, orafo e scultore, e l’organizzazione della sua bottega sono tornate in anni recenti al centro degli studi storico-artistici sul Quattrocento italiano, anche alla luce dei risultati degli ultimi importanti restauri. Tuttavia, la sua produzione teorica ha conosciuto una diversa fortuna: ciò è valido soprattutto per i Commentarii, dal significato e dal valore indiscutibili per il genere della letteratura artistica nella prima età moderna.

Vent’anni dopo la riedizione critica dei Commentarii di Lorenzo Bartoli (1998), a quasi trent’anni dall’edizione del Terzo commentario (1988) di Klaus Bergdolt, e a quattro decenni dell’ultimo convegno di largo respiro dedicato a Ghiberti (1978) il potenziale dei suoi scritti merita di essere riaffrontato nel dettaglio, per restituirlo al dialogo con la teoria ‘fusa’ e messa in pratica delle sue opere, la cui portata appare oggi più chiara.

Il convegno, organizzato da Fabian Jonietz, Wolf-Dietrich Löhr e Alessandro Nova presso il Kunsthistorisches Institut in Florenz – Max-Planck-Institut, si terrà dal 30 novembre al 2 dicembre 2017, mirando a un’indagine di ampio spettro delle problematiche inerenti, in particolare, agli aspetti letterari, teoretici, metodologici e di storia della disciplina.

Si intendono affrontare, per esempio, i riferimenti alla filosofia naturale, alla metallurgia o all’ottica contenuti nei Commentarii, o in altri scritti del Quattrocento paragonabili; la concezione storiografica e storico-artistica del Ghiberti; il contesto e la rete della sua attività letteraria; le istanze teoriche riscontrabili nella sua opera; e, infine, la ricezione delle sue idee all’interno della teoria artistica successiva, da Vasari a Krautheimer.

Si attendono proposte per interventi della durata di 20 minuti, da inviare in forma di abstract in tedesco, inglese o italiano, insieme ad un cv, all’indirizzo e-mail Sekr_Nova@khi.fi.it. Le spese di viaggio e soggiorno per i relatori ammessi saranno a carico del Kunsthistorisches Institut in Florenz.

Scadenza per inviare la proposta: 30 giugno 2017.

Fonte: H-ArtHist

Petrarch Commentary and Exegesis

CALL FOR PAPERS: Petrarch Commentary and Exegesis in Renaissance Italy, c. 1350-c.1650, The Renaissance Society of America (RSA), New Orleans, 22 – 24 March 2018, organized by the Centre for the Study of the Renaissance, University of Warwick.

The AHRC-funded project Petrarch Commentary and Exegesis in Renaissance Italy, c. 1350-c. 1650, which brings together a team of researchers from the Universities of Warwick, Leeds and Manchester, welcomes individual papers to be presented at the 64th Annual Meeting of the Renaissance Society of America (New Orleans, 22-24 March 2018). The project aims to explore exegetical production on Petrarch’s vernacular verse (both the Rerum Vulgarium Fragmenta and the Triumphi) in early modern Italy.

Our three panels aim to investigate exegesis on Petrarch in both the full-scale commentary and the academic lecture (‘lezioni’), as well as considering the exegetical value of paratextual and other ancillary features found in these traditions. An outline of some suggested topics is provided for each panel below, but we would naturally welcome other relevant suggestions focused upon Italian exegesis of Petrarch in the period:

Panel 1. Commentaries: papers are welcomed on such topics as: the major print and manuscript commentaries/commentators (e.g. Marsili, Barzizza, Filelfo, Illicino, Silvano da Venafro, Brucioli, Fausto da Longiano, Gesualdo, Delminio, Vellutello, Daniello, Castelvetro); the exegetical value of paratextual elements (e.g. lives, prefaces, etc.) within such commentaries; explorations of the modes of exegesis and interpretative strategies developed in commentaries; explorations of the connections between Petrarch commentary and other exegetical traditions (e.g. Dante commentary, classical commentary, etc.).

Panel 2. Lectures: papers are welcomed on such topics as: the production of individual readers of Petrarch and/or on the character of Petrarchan exegesis in specific Academies; explorations of the modes of exegesis and interpretative strategies found in academic lectures; consideration of the relative attention and emphasis paid to different poems or sections of Petrarch’s vernacular poetry in lectures; investigation of the contexts in which lectures are given (primarily Academies but also courts).

Panel 3. Tools for the reader in Petrarch editions: papers are welcomed that deal with the exegetical functions of phenomena and materials accompanying Petrarch editions. Topics might include such elements as: rimari, lists of variants and discussion of them, use of elements of the accessus ad auctores tradition, illustrations, indexes, etc.

Colleagues who wish to be considered for these panels are kindly invited to send to petrarchcommentary@gmail.com:
– a title
– an abstract of no more than 150 words
– a one-page CV.

Deadline: 28 May 2017.

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The Glory of Inscriptions

CALL FOR PAPERS – The Glory of Inscriptions: epigraphic writing, classical architecture and monumental art in the Renaissance (15th-17th century), Renaissance Society of America Congress (RSA), New Orleans, 22 – 24 March 2018.

Two of the most remarkable aspects of the Imitatio Antiquitatis in the Renaissance are the taste for inscriptions among the humanists and the imitation of ancient epigraphy in the field of the arts. The desire to surpass the Ancients, especially in the art of inscription, is particularly noticeable in architecture and in the various forms of monumental art.

Motto, titulature, praises and dedications, tituli of saints, consecrations of monuments, funeral epitaphs, poems or simple distiches, all’antica signatures, etc. – inscriptions are numerous on public monuments, churches facades, palaces portals and courtyards, but also in mural painting, on large-scale sculptures, in ephemeral decorations for feasts or royal processionals, and even on engineered structures such as bridges.

During the Renaissance, as in the Greco-Roman civilization, the writing of monumental inscriptions was praised as an art and epigraphic texts were generally considered a major element of composition: a written form, endowed with aesthetic qualities, which visually enriches the building or the work of art, but also in some cases reveals its meaning, origin or ambition.

Historians of art or architecture as well as philologists are invited to apply to this panel which will study the practice of Greek, Latin, hieroglyphic and Hebrew inscriptions in the field of monumental art between the fifteenth and the seventeenth centuries.

Speakers may also consider the formal characteristics of the inscriptions as well as their literary sources, the identification of their authors, the methods of writing, the layout of texts and their conditions of reading in a monumental composition.

We shall also endeavor to identify literary genres and interpret the inscriptions, as well as assessing, at each level of art historical analysis, the properties and mechanisms of the artistic devices.

* What kind of relationship can be drawn between the form, layout and content of inscriptions and the questions of style, composition or distribution in architecture?
* How did they affect the different categories of viewers, who were not always able to read and understand the texts?
* What is the place of inscriptions in the figurative arts, in artistic theory and in the practice of the great masters?

If easel painting tends to banish the texts, mural painting, monumental sculpture and religious furnishings, on the contrary, place them in the forefront. The case of Michelangelo, who generally avoided inscriptions, is all the more interesting as he had a singular talent for writing.

In the range of sacred art, it will also be possible to study how and to what extent the Tridentine injunctions (docere, movere, delectare) changed the practice of inscriptions in religious architecture, church decoration and liturgical furnishings from the second half of the 16th century onward.

Proposals must include the following: paper title (15-word maximum), abstract (150-word maximum), keywords, and a brief curriculum vitae (300-word maximum). Please send proposals to Anne Lepoittevin and Emmanuel Lurin.

Deadline: 28 May 2017.

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The Renaissance of Origins

CALL FOR PAPERS: The Renaissance of Origins. Beginnings, Genesis and Creation in the Art of the 15th and 16th Centuries, Tel Aviv University, Art History Department, 14 – 16 2018 May; Université Paris 1 Panthéon-Sorbonne, Centre d’Histoire de l’Art de la Renaissance, 28 – 30 May 2018.

The question of origins has fascinated and provoked speculations like no other major question in the history of western thought. The possibility of revealing and illuminating what happened at the beginning of time and of reconstructing an uninterrupted chain of events relating the present to an immemorial past continues to challenge and inspire scholars. This perennial and relentless search for origins of things, humans and, above all, the universe constitutes what Claude Lévi-Strauss called a “structural invariant.”

Efforts to unveil the mystery of the origins of the universe have lost none of their vigor in recent times. Astronomers and physicists, in particular, tend to announce the imminent revelation of a secret that has hitherto escaped human knowledge; however, they are hardly the only ones engage in this pursuit. The question of origins – and this is its peculiarity – straddles the confines of science and myth, reason and imagination. As Michel Cazenave reminds us, “objective knowledge of the phenomenal world often appears today as the site of an image that the visionary experiences of myth and mysticism have explored, backwards and forwards.”

From the end of the 14th century to the beginning of the 17th century, a pronounced interest in origins emerged across multiple fields of knowledge. The 15th and 16th centuries, witnessed the revival of great fresco cycles devoted to the creation of the world, inspired by sources ranging from the bible to Hesiod’s Theogony, Ovid, Pimander (attributed to Hermes Trismegistus) and Boccaccio. Other cycles revolved around the origins of humanity and the first human beings (focusing in particular on the figure of the “wild man.”) Pictorial cycles depicting time and the interactions of the elements that reflect the life of the cosmos as well as the power of nature were incorporated into the artificial grottos and gardens of the 16th century.

In the fields of visual arts and literature, the last three decades have seen the publication of fundamental works that have addressed the question of origins and highlighted its importance during the Renaissance. Michel Jeanneret (Perpetuum mobile. Métamorphoses des corps et des oeuvres de Vinci à Montaigne, 1997) has broadened this perspective, focusing on works that portray this meditation on “the charm of origins,” on “the mystery of birth,” on “attraction for beginnings”: in short, all this “idea of the inchoate” that lies at the heart of the humanist project of the Renaissance. For artists, portrayals of origins are often inseparable from myths surrounding the birth of art and the creation of the first works of art. This process echoes the creation of the world and its transition from chaos to cosmos, from “darkness” to “light,” from indeterminacy to achievement.

This conference seeks to introduce a variety of different approaches and interpretations of the concept of “origins” within the visual arts during the Renaissance. However, to consider the question of origins necessitates establishing a distinction between an original beginning such as the creation of the world, an event which initiated historical time, and the symbolic exercises of re-creation that follow it. These phenomena of echo or aemulatio are defined by their manifest desire to capture the primal energy of the original beginning. Such re-creations attempt to reproduce the vitality inherent in the original beginning, and are characterized, above all, by a fundamental desire to reestablish a link to an ideal and initial origin.

The question of origins prompts a wide range of ideas and notions will be examined during the conference, starting with those relating to beginnings, genesis, and creation of the world; or, in other words, all that is considered as belonging to a primordial time outside of history. A reflection on origins also entails, however, an interrogation on the very notion of history and time, of genesis and its premises, – core and cradle, cause and agent, foundation and engine, generation and genealogy, ancestry and descent, as well as touching on issues of provenance, kinship, lineage, destiny, and originality. One might ever consider archaism, derived from the Greek arkhè, which refers to both commencement and commandment. All of these notions can also be expressed visually, through iconographic as well as meta-iconographic mechanisms.

This conference seeks to reconsider the full complexity of the topic of origins in the visual arts of the Renaissance. Relying on specific case studies and close readings of works of art, we will examine the conditions underlying the emergence and existence of a figurative discourse on origins. What are the themes, motifs or figures that more specifically reflect such a phenomenon? What might be the reasons for the use of such figures related to the theme of origins? Topics of inquiry may include but are not limited to:

1. Theological representations: how did artists tackle the problem of representing the creation of the world drawing from cosmogonic accounts? What biblical or pagan sources did they turn to and how did this impact their exegesis and reinterpretation of the subjects of light and darkness, chaos, prima materia, separation of the elements, etc.

2. The origin of humanity and original humanities: how were anthropogenic narratives represented (Adam and Eve, Prometheus animating man, Deucalion and Pyrrha, the Golem, etc.)? How did representations of the “wild man” (Pan, satyrs and fauns, Man of the Woods, and indigenous peoples of the Americas in the eyes of the first Europeans, among others) feed into this.

3. The science of origins: how were the sciences deployed in works of art which depicted the order and organization of the world, as well as the process of generation – genetics – in nature. How did the burgeoning fields of mineralogy, botany, zoology, chemistry and alchemy, cosmography and astronomy (mappae mundi, grottoes, automata,
etc.) interact with the question of origins in the visual arts.

4. The politics of origins: origins are always politicized. From the myth of the caput mundi (Christian golden age and renovatio ecclesiae) to the myth of the golden age (mito etrusco, etc.), what were the ideological motivations/ramifications underpinning how cities, nations and individuals represented their historical or biological origins (Michelangelo being the most celebrated example of the later)?

5. Artistic and poetic genesis: artists played on the analogy between the creation of the world and the artistic process both in the field of humanist accounts of the birth of art and in images depicting moments of artistic creation. How were the origins of art and the art of origins intertwined?

Rather than a general discourse, the conference aims to introduce papers that will disclose the common tendency of Renaissance art to focus on the poetic potentialities of origins. We seek to examine through various orientations and ramifications how the question of origins was to reemerge in the early modern period, relating to specific works of art and/or sources. We encourage proposals from a variety of disciplinary perspectives and methodological approaches which offer new approaches to the topic. We welcome proposals from both young researchers and senior scholars.

Please send a 300-word abstract (in French or in English) to Florian Métral (Université Paris 1 Panthéon Sorbonne) and Sefy Hendler (Tel Aviv University).

Deadline: 1 June 2017.

Source: H-ArtHist

Netherlandish Illumination (15th -16th Cent.)

CALL FOR PAPERS – Netherlandish Illumination and Painting in the 15th and 16th centuries: Integrating new art-technical research in established approaches, Session in the Historians of Netherlandish Art Conference (HNA), Ghent, 24 – 26 May 2018.

Organizers: Anne Margreet As-Vijvers (Illuminare scribendo. Research and projects in Art History), Anne Dubois (Université catholique de Louvain, Louvain-la-Neuve), Lieve Watteeuw (Illuminare – Book Heritage Lab – KU Leuven) and Lieve De Kesel (Independent Scholar, Ghent University).

Technical art history found its way into the study of panel painting many decades ago, while the scientific and art-technical inquiry of illuminated manuscripts developed at a much slower pace. However, improvements in technical equipment resulted in significant progress during the past decade, with the Inside Illumination study day in Brussels in June 2014 and the Manuscript in the Making: Art and Science conference held in Cambridge (UK) in December 2016 as landmarks in technical manuscript studies. With the foundations laid, we think there are now several important steps to take.

One of the tasks is to integrate ‘classical’ art historical methods and technical research in manuscript studies, as has long been realized for panel painting. Another issue is the need for syntheses and for comparative studies: only a handful of contributions on said conferences were studies of larger groups of manuscripts or investigations over longer periods of time.

Moreover, comparison of the techniques used in panel painting and manuscript illumination has hardly begun. Last but not least, technical studies into Netherlandish manuscripts have been few and far between.

This is even more regrettable because in Netherlandish art of the 15th and 16th century, numerous relationships existed between panel painters and manuscript painters. Several of the most famous artists – including Rogier van der Weyden, Simon Marmion, Gerard David and Simon Bening – practiced both crafts.

Furthermore, the international cultural climate in the Netherlands, along with its prominent role in global trade, provided both artists and patrons with access to the newest materials and artistic trends – the new possibilities and challenges of which still need to be evaluated.

For this session, we would like to invite proposals that show the integration of both art technical and art historical approaches. We are not looking for case studies on particular manuscripts, but for comparative studies addressing broader themes and developments in time or place. For example:

* Did illuminators share pigments when working together on a commission (in the 14th century, they did not, but the situation in the 15th-/16thcentury Netherlandish cities, commercial suppliers may be have been available), do we have any information on this from the field of panel painting?
* What does art technical research tell us about the organization of production?
* How far can the results from technical analysis of panel painting be used for illumination?
* Are there any similarities in the oeuvre of painters working in both techniques?

Proposals for papers due to session chairs by 15 May 2017. Chairs determine speakers and reply to all applicants by 18 September 2017. Full texts of papers due to session chairs by 26 March 2018.

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Ecrits et dépendances monastiques II

CALL FOR PAPERS – Ecrits et dépendances monastiques II: Transferts d’archives, IXe-XVe s., Paris, Institut historique allemand, Université Paris-Sorbonne, 1er – 2 février 2018.

Cette rencontre scientifique s’intègre dans un cycle thématique de recherches sur les écrits des dépendances monastiques, engagé par Claire Lamy et Jean-Baptiste Renault. Une première journée a été organisée en septembre 2015 à l’université de Poitiers, de manière à ouvrir des pistes, constituer une équipe de travail et définir des thématiques de travail.

Les communautés monastiques se sont dotées dès le haut Moyen Âge de dépendances au statut divers, les unes nées d’essaimage, d’autres étant des établissements préexistants absorbés. À partir du Xe siècle, et surtout au XIe siècle, les mouvements de réforme monastique et l’essor du monachisme ont entrainé la constitution de réseaux de dépendances plus ou moins étendus autour d’abbayes bénédictines réformées ou nouvellement fondées.

Depuis le colloque de 1987 sur les prieurés (Jean-Loup Lemaître, ed., Prieurs et prieurés dans l’Occident médiéval,  Paris, 1987), les études ont insisté sur la diversité de ces établissements dépendants, centres de gestion, prieurés conventuels plus ou moins peuplés, ou refuges érémitiques.

Des abbayes comme Cluny, La Chaise-Dieu, Marmoutier, Saint-Florent de Saumur ou encore Saint-Victor de Marseille, ont eu des réseaux très étendus encore insuffisamment connus pour les Xe-XIe siècles notamment, tandis qu’à partir des XIIe-XIIIe siècles, se met en place une organisation hiérarchique plus stricte sous la forme d’un ordo.

En raison de leur diversité – statut juridique, éloignement, taille mais aussi histoire – les dépendances ont joui d’une autonomie plus ou moins forte. Ainsi ont-elles pu constituer ou conserver des archives, dont l’histoire accompagne celle des relations avec leur maison-mère ou maison de rattachement. Ces moments d’évolutions institutionnelles ont pu donner lieu à des « transferts d’archives » qui sont l’objet de cette rencontre.

Le colloque mettra l’accent sur les établissements bénédictins « traditionnels », qu’il s’agisse d’établissements singuliers à la tête de réseaux plus ou moins étendus, ou de chefs d’ordre. La réflexion incorpore les établissements de chanoines, séculiers ou réguliers.

On s’intéressera aussi aux cas d’incorporation de réseaux entiers, mais sans prendre en compte les dossiers d’incorporation par les Cisterciens (on pense en particulier au cas de Savigny, absorbé par Cîteaux) qui ont déjà fait l’objet de travaux approfondis. Les circonstances pouvant donner lieu à transferts d’archives sont multiples.

La plus évident  est bien sûr celle de l’entrée en dépendance monastique, qui peut concerner un établissement monastique ou bien un établissement canonial ; ensuite celle de la sortie du statut de dépendance pour (re)trouver un statut autonome ; enfin, on n’oubliera pas les cas de contestations de dépendance.

La manière de considérer les archives d’un établissement, de définir leur lieu de conservation, de les valoriser (par exemple en réalisant des cartulaires) reflète des enjeux institutionnels qu’il convient de mettre au jour.

Il faut encore tenir compte des cas de mise en sûreté des archives, que ce soit dans le contexte de fuite devant les raids des Normands ou des musulmans, ou bien, quelques siècles plus tard, dans le cadre de la guerre de Cent Ans.

Les transferts ont pu avoir été faits de la dépendance vers la maison-mère ou bien de celle-ci vers ses dépendances ; des archives peuvent accompagner les moines lors de leur fuite de la maison-mère vers une dépendance refuge.

L’insécurité des archives ne sera pas oubliée ; ainsi pourraient être abordées les situations de « transferts accidentels » d’archives, soit les vols de documents, les ponctions sauvages d’archives ou les pertes d’archives, quand les circonstances peuvent être éclairées, parfois grâce à des mentions dans les chroniques.

Les aléas de l’histoire institutionnelle des dépendances sont parfois des temps forts de l’histoire des archives. On s’interrogera sur le sort des archives détenues par les établissements au moment où ceux-ci entrent en dépendance ; en cas de transfert, sur la qualité et la quantité des documents transférés, y compris sur leur nature juridico-diplomatique (originaux ou copies).

On tentera de déterminer les critères de sélection et on sera attentif au travail archivistique (inventaire, transcription organisée) accompagnant éventuellement ces opérations.

Enfin, de manière transversale, est soulevée la question de la possibilité et des moyens d’identifier les archives de dépendances. Ce dernier point, de caractère méthodologique, pourra être abordé dans les différentes propositions de communications.

Contacts : Claire Lamy (Université Paris-Sorbonne) et Jean-Baptiste Renault (Université de Lorraine).

Les propositions de communication sont attendues jusqu’au 31 mai 2017.

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Empty Spaces in the Graphic Arts

CALL FOR PAPERS –  Empty Spaces in the Graphic Arts: The Function, Aesthetics, and Meaning of Unmarked Surface, Kunsthistorisches Institut in Florenz, 18 – 19 January 2018.

That drawing and print illustration are constituted by the presence and absence of marks, while compositional structure emerges out of their correlation and balance: this is probably the simplest way of defining these genres. Within this basic condition, the interplay of form and non-form does not necessarily lend the blank sheet a subordinate role with respect to the drawn line.

The purpose of the workshop is to address the forms and functions of this unmarked space in the graphic arts of the Early Modern period. Central questions and problematics may include:

* What types of empty spaces exist and how do they differ semantically?
* What aesthetic potential does empty space hold in the work of art? Possible issues here would be its relationship to surface, its role as a spatial or perspectival element, or its chromatic values.
* Does the relationship between graphic content and empty space presuppose a space for abstraction?
* How does empty space serve as a vehicle for the aesthetic imagination of the artist and/or beholder? Could empty space be the place where an artistic idea crystallizes?
* What kinds of empty spaces are technically conditioned? How can they be distinguished in drawing or print?
* How do we deal with non-artistic aspects of the empty image surface (the structure of paper and its color, watermarks, ageing, etc.)?
* What are the implications of cutting an image support?
* What role might the verso play as an empty space?
* How can metaphors (“blinder Fleck,” et al.) and philosophical ideas and concepts (“horror vacui”) be related to Early Modern drawings and prints?
* What is the role of empty space in the Early Modern discourse on drawings and prints?

The two-day event offers the possibility to develop a 20-minute presentation in German, Italian, or English on these and other themes concerning the technical, aesthetic, and theoretical empty spaces in the graphic arts of the Early Modern period.

In addition there will be an opportunity to select objects for view in a collective working conversation at the Gabinetto dei Disegni e delle Stampe degli Uffizi.

Please send an abstract (max. 500 words) and a short CV in a single PDF to Lisa Jordan and Elvira Bojilova. The Kunsthistorisches Institut in Florenz – Max Planck Institut will cover travel costs (economy class) and accommodation in accordance with the provisions of the German Travel Expenses Act.

Deadline: 6 June 2017.

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