Entries Tagged as 'Call for Papers'

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

Ghiberti

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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The Role of the Individual in Collective Culture

CALL FOR PAPERS – Singular Acts: The Role of the Individual in the Transformation of Collective Culture, Postgraduate Symposium, The Warburg Institute, London, 16 November 2017.

This year’s Symposium focuses on particular personalities who acted for or against historical and cultural change. The Early Modern period saw seismic shifts across all aspects of society, ranging from technological developments to new artistic techniques; to innovations in philosophical thought and religious doctrine and scientific discoveries; to social and political movements. This interdisciplinary conference will appraise the extent to which such transformations were triggered or repressed by the acts of individuals such as innovators, pioneers, reformers and censors.

Questions pertaining to specific individuals might include: What was the relationship of the individual to their societal context, and how did this affect their actions? What was the short and long term reception of their activities? Did their contribution come from a position of authority, or subvert it? More critical lines of enquiry might encompass: What factors determine a positive or negative perception of innovation? What are the methodological and historiographical implications of focusing on the individual in history? Did the notion of ‘individuality’ change in the period and does this differ to how it is perceived in the present day?

The Symposium will bring together speakers from different backgrounds in the humanities and draw on a variety of disciplinary tools and methodologies. We hope to engage with a wide range of topics represented by the global cultural interests of the Warburg Institute, within the chronological frame of the Late Middle Ages to the Enlightenment. The Symposium will be multidisciplinary and will cover topics that fall into the unique classification system of the Warburg Library: Image, Word, Orientation and Action. We invite submissions on Individuals including but not limited to:

* Artists, Craftsmen, Patrons.
* Writers, Publishers, Translators.
* (Counter-)Reformers, Heretics, Mystics.
* Philosophers, Scientists, Doctors.
* Social and Political Theorists, Explorers.

The Symposium is intended for postgraduate students and early career researchers. Proposals for papers should be sent by email. Maximum 300-word abstract, in English, for a 20-minute paper, in PDF or Word format. One-page CV, including full name, affiliation, contact information.

Deadline: 31 May 2017. All candidates will be notified by 31 July 2017.

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The Shape of Return

CALL FOR PAPERS – The Shape of Return: Progress, Process, and Repetition in Medieval Culture, International Conference, ICI Berlin Institute for Cultural Inquiry, Berlin, 29 – 30 September 2017. Organized by Francesco Giusti and Daniel Reeve.

Keynote speaker: Elizabeth Eva Leach (University of Oxford).

The conference will explore the ways in which medieval literary, artistic, musical, philosophical, and theological texts perform, interrogate, and generate value from the complexities of return, with particular reference to its formal and temporal qualities.

Reconsidering the practical and theoretical implications of return — a movement in time and space that seems to shape medieval culture in a fundamental sense — we will investigate the following questions:

* What shapes does return take, and how does it shape cultural artifacts of the Middle Ages?
* How does return (as fact or possibility) regulate the flow of time and the experience of human life?
* How can return as a final goal and return as a problematic repetition coexist?
* Is repetition simply identified with a state of sin, or can it lead somewhere?
* Reiteration, after all, can disrupt linear and teleological progress, but also empower it.

Presentations in English, limited to 30 minutes. Please email an abstract of no more than 300 words and a short bio-bibliographical profile (100 words maximum).

Deadline: 15 April 2017. An answer will be given before 1 May 2017.

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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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