The Workshop and its Painters

Perugino

FELLOWSHIP – The Workshop and its Painters: Perugino and the Perugineschi in Florence and Perugia, AHRC Collaborative Doctoral Partnership Phd Studentship, The National Gallery, London and the Warburg Institute, University of London.

Applications are invited for a Collaborative Doctoral Partnership PhD studentship, to be undertaken at the Warburg Institute (University of London) and the National Gallery (based in the Curatorial Department). This three-year (full-time) studentship commences on 1 October 2017 and will be jointly supervised by Professor Michelle O’Malley (Warburg Institute) and Dr Matthias Wivel (National Gallery). The student will spend the majority of their time at the National Gallery in the first year, undertaking field work in Perugia and Florence in the second year before spending their final year based at the Warburg Institute.

Pietro Perugino (living 1469-died 1523) was the most successful Italian painter of the end of the 15th century. He enjoyed great international success, and his ‘sweet style’ was universally praised. Yet by his death his work was already considered outdated and he became a relative nonentity, primarily remembered for teaching Raphael. He remains the only 15th century Italian painter known to have operated two workshops in different cities. While both are documented, Perugino’s rental of spaces in Florence from 1487 to 1511 and in Perugia from 1501 to 1513 complicates matters in regard to how he deployed assistants, in a career that ranged from Venice to Naples and Rome to Fano.

The project’s overall aim is to improve understanding of the management and operation of painting workshops in Renaissance Italy. The project will draw on the case study of Pietro Perugino to challenge our understanding of the numerous serial and derivative paintings produced within the workshops of Florentine masters in the late-15th and early-16th century. The research will investigate how Perugino managed production and used – and famously reused – material in two workshops, as well as how individual works were made by numerous assistants at different levels of expertise. The innovation of the research lies in its investigation of Perugino’s two workshops, never properly analysed previously.

In addition to the thesis, academic outcomes will include scholarly articles, a possible monograph, participation in (inter)national scholarly conferences and workshops, as well as the Warburg’s Work in Progress seminars and research events at the National Gallery and the Warburg.

Both partner organisations and the AHRC Collaborative Doctoral Partner consortium will provide opportunities for training and career development.

The closing date for applications is 12:00 noon (UK time) on 20 June 2017. Interviews will take place on 13 July 2017.

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Devotional Writing in Early Modern England

CONFERENCE: Devotional Writing in Print and Manuscript in Early Modern England, 1558-1700, University of Warwick, Ramphal Building, Coventry, 26 June 2017. Registration is now open.

Devotions in early modern England, public or private, were central to the everyday lives of clergy and laity alike. Yet such practises were routinely transformed by men and women who did not just record but reconfigured their piety through writing.

From accounts of fasts, feasts, and thanksgiving days; prayers and sacred songs; covenants and confessing of sins; narratives of conversion, baptism or burial; biblical graffiti; repetition of sermons; conferencing and conventicles.

English citizens, individually and communally, and on either side of the confessional divide, had a regimen of acts that were to be performed and perfected during their lifetimes. This one day conference aims to investigate how print and manuscript cultures coalesced and collided in their re-presentation of post-Reformation devoutness.

Devotional Writing in Print and Manuscript is a major one day multi-disciplinary conference, hosted by the University of Warwick’s English Department in collaboration with the Centre for the Study of the Renaissance, The Humanities Research Centre and the Early Modern Forum.

Registration will close on 15 June 2017.

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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

Il buon secolo della pittura senese

Beccafumi-mostra

EXHIBITION: Il buon secolo della pittura senese. Dalla Maniera moderna al Lume Caravaggesco, Montepulciano, San Quirico d’Orcia e Pienza, 18 marzo 2017 – 30 giugno 2017.

Sedi della mostra:
1. Domenico Beccafumi, l’artista da giovane, Montepulciano, Museo Civico Pinacoteca Crociani.
2. Dal Sodoma al Riccio: la pittura senese negli ultimi decenni della Repubblica, San Quirico d’Orcia, Palazzo Chigi Zondadari.
3. Francesco Rustici detto il Rustichino, caravaggesco gentile e il naturalismo a Siena, Pienza, Conservatorio S. Carlo Borromeo.

La grande mostra che si svolge in tre straordinarie città gioiello del Senese, si ispira, nel titolo, ad una frase dell’abate Luigi Lanzi, storico dell’arte vissuto tra Sette e Ottocento ed è dedicata ad uno specifico periodo storico che va dagli inizi del XVI alla metà del XVII secolo, quando l’arte senese brillava di eccellenti e singolari personalità artistiche ancora, nella maggior parte dei casi, troppo poco note al grande pubblico.

Allo scopo di migliorare la loro conoscenza, nasce l’idea di questa originale rassegna in cui le città di Montepulciano, S. Quirico d’Orcia e Pienza ospitano ciascuna, prendendo spunto da un capolavoro che si trova sul territorio, una sezione espositiva dedicata a un importante artista senese ed al suo ambiente. Ogni settore prevede un itinerario alla scoperta di opere altrettanto significative rispetto a quelle esposte ma che, per varie ragioni, sono rimaste nelle loro sedi originali.

Questa soluzione permette di completare idealmente la visita con il valore aggiunto di percorrere e scoprire una terra splendida e magnificamente conservata. Tutte le opere in mostra provengono da prestigiose collezioni pubbliche e private, chiese ed istituzioni religiose, allo scopo di donare ai visitatori una visione quanto più esaustiva possibile di un grande secolo un poco dimenticato.

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Six Authors for the National Gallery, London

JOBS: Authors (Collection Information project), The National Gallery, London. Fixed Term Full-Time. Salary: £25867 – £32410. Job ref: 1494.

Can you write engagingly about paintings to a strict word-count and in a limited time?

If so, the National Gallery is seeking six authors to research and write short and long descriptions of its paintings, and short accounts of people related to the paintings, as part of a major project to improve the Gallery`s digital information.

We are looking for people with a postgraduate degree in the history of art, or technical art history, with a focus on one or more aspects of European painting c.1200-c.1900; a reading knowledge of at least one European language; and a proven ability to quickly research and summarise art-historical information, writing concisely, accurately, and grammatically in English for a non-specialist readership.

Appointments will take into account the balance of geographical, chronological and technical expertise across all six post holders.

Please note these six fixed-term posts are each for a period of 18 months.

Closing date: 19 June 2017. Interview date: 24th July – 4th August.

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From Codex to the Cloud (Oxford-Medina)

LECTURE: Nicolai Sinai (University of Oxford) and Alasdair Watson & Keith Small (Bodleian Libraries), From Medina to Oxford, from Codex to the Cloud: Scenes from the life of the Qur’an, Lecture Theatre, Weston Library, Oxford, 30 May 2017.

Traditionally believed to be the revelatory irruption of divine speech into human history, the Qur’an is a literary document whose eventful biography spanning a millennium and a half yet remains to be written.

In a collaborative presentation, three Oxford scholars will present crucial waystations in the life of the Qur’an. Nicolai Sinai will guide the audience through current research seeking to reconstruct the literary genesis of the Qur’anic texts in late antique Arabia; Alasdair Watson will examine how early modern collectors and adventurers first introduced Qur’anic manuscripts to European libraries, including the Bodleian; and Keith Small will show how Qur’anic codices that have been dispersed by the vagaries of early modern manuscript hunting can now be virtually reunited by cutting-edge digital technology.

There will be a small display on the history of the Qur’an to accompany the lecture.

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A Fifth New Leo X Cutting

Leo-X

NEWS: A Fifth New Leo X cutting, by Peter Kidd.

I have written about a dismembered Missal of Leo X several times, most recently here. Browsing images of cuttings in Parisian collections I came across this initial “P”, in the Musée des arts décoratifs, shown above.

The online description is vague. Unlike those previously found, the cutting consists not just of an initial, but also a border. And although the style and colouring of the illumination does not seem to me to be identical to the previously found ones, the border confirms that this is definitively from a Leo X book: it includes at the bottom the familiar letters “L.X.P.M.” for “Leo X Pontifex Maximus”, as shown in my first blog post on the subject.

This is also the first cutting to show any evidence of music (a four-line red stave is visible to the right of the initial “P”, with a musical note on the top line). I suspect it comes from the Prefaces which usually precede the Canon in missals, and begin “Per omnia …” as in this example, which also has a priest doing something with the chalice.

So far, therefore, we have located:
– two cuttings at Vassar College
– one in the Wildenstein Collection, Paris
– one sold by Maggs c.1970
– one sold by Christie’s in 2016
– the present one, in Paris.

Doubtless more will come to light …

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Art Curator at the Pembroke College, Oxford

JOB: Art Curator at the Pembroke College, Oxford.

After a successful three-year stint, Pembroke College’s first Curator of Art is leaving to take up an academic post. The College is now seeking to appoint a new part-time (12 hours per week) professional curator for its art collections and new, purpose-built Art Gallery from 1st September 2017. The role will involve both curatorial and conservation responsibilities, including the organisation of temporary exhibitions.

Contract duration: a one-year contract of employment will be established with the College in the first instance, but funding is available to permit renewal for further years.

Contact: Jane Richmond.

Closing date: 5 June 2017.

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The Book in the Low Countries

CONFERENCE: The Book in the Low Countries: New perspectives, Hidden Collections, IHR Wolfson Conference Suite, Basement, Senate House, Malet Street, London WC1E, 21 – 22 Jun 2017.

Great Britain and the Low Countries share a large part of their histories. There are countless stories of political and economic rivalries and wars, stories of religious and political exile in both directions, but also of cultural exchange and influence.

Also the book business of the early modern era was characterised by an influx of printers, materials and books from the Low Countries to England. Rare books and manuscripts were eagerly collected by English bibliophiles and most of these collections are nowadays found in libraries all over the country.

This two-day symposium has a double goal. In a combination of papers and collection visits, it wants to bring these often overlooked collections to the surface, and it also offers an overview of the latest research on Low Countries books.

Programme

Wednesday 21 June 2017
Session 1: Low Countries Collections
Chair: TBC
* Reinier Salverda (UCL and Fryske Akademy), Dutch Books in London Libraries: Early beginnings and future perspectives
* Catherine Wright (University of Oxford), The collection of the Dutch Church library: An expression of an Anglo-Dutch identity?

Visit 1: Lambeth Palace Library
Visit of the collection with Librarian and Archivist, Giles Mandelbrote.

Visit 2: British Library
Show and tell by Curator, Marja Kingma.

Session 2: International book history projects
Chair: TBC
* Goran Proot (University of Udine), The pricing strategy for books published by Jan Moretus I (fl.1589–1610) and his successors at the Officina Plantiniana in the first half of the 17th century
* Jaap Geraerts (UCL), The Archaeologies of Reading in Early Modern Europe: enter John Dee.

Thursday 22 June 2017
Visit 3: Dutch Church
Visit of the library.

Visit 4: Senate House Library
Show and tell of the Elzevier collection by Curator, Karen Attar.

Session 3: People of the book
Chair: TBC
* Patrick Storme (Universiteit Antwerpen), X-Ray Fluorescence as an analytical tool for studying the copper matrices in the Plantin- Moretus Museum collection
* Heleen Wyffels (KU Leuven), The women of the Bellère family and the making of a printing dynasty in Douai (1593-1711)
* Marja Smolenaars (Koninklijke Bibliotheek), “Printed in London? No, not really. A London publisher and his imports from the Netherlands”.

Session 4: Printed ephemera
Chair: TBC
* Steven Van Impe (Erfgoedbibliotheek Hendrik Conscience), A Provincial Newspaper in an Urban Setting. Reprints of the Gazette van Antwerpen in the Dutch Republic
* Arthur der Weduwen (University of St. Andrews), Ephemeral Politics. State Publications in the Dutch Golden Age
* Erik Geleijns (Museum Meermanno), The forgotten cousins. Elzevier family members in The Hague, 1590-1665.

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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

Jewish Books and their Christian Readers

EXHIBITION: Jewish Books and their Christian Readers: Christ Church Connections, Christ Church Library, Oxford, 22 May – 20 October 2017. Curated by Dr Rahel Fronda.

The four cases display the wealth of Hebraica and Judaica at Christ Church and around, following the story of Hebrew studies in Oxford from the late 16th century until the end of 18th century.

The exhibition will be accompanied by a detailed scholarly catalogue in print. The planning work for this is well in progress, and involves collaboration with the Bodleian Library, Oxford Conservation Consortium, Lincoln College, Merton College, Queens’ College in Cambridge, as well as the Westminster Abbey.

The exhibition is connected with the EAJS conference Jewish Books and their Christian Collectors in Europe, the New World and Czarist Russia.

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Jewish Books and their Christian Collectors

CONFERENCE: Jewish Books and their Christian Collectors in Europe, the New World and Czarist Russia, Sir Michael Dummett Lecture Theatre, Christ Church, Oxford, 22 – 23 May 2017.

A two day international EAJS conference that will deal with Christian collectors of Hebraica in order to understand how these collections, whether private or public, were acquired and assembled, and in what way they could be said to represent the cultural universe of their owners.

While there have been a proliferation of studies on the manifold ways that Latin and vernacular books were read and collected, there have been as yet few attempts to interpret the widespread phenomenon of Hebrew books read, collected and deposited (and sometimes catalogued) in the libraries of Christian scholars and merchants, as well as in universities and theological seminaries.

For over the centuries Christians and Jews were constantly in search of Jewish texts of all types, in both manuscript and print. This quest was carried out over a remarkable range of locations, from libraries in the heartlands of the various Christian confessions, to the studies of Jewish scholars and readers in both Europe and the Near East.

The purpose of this conference is to begin to explore the conspicuous presence of the Hebrew book and manuscript in a wide range of libraries in the Christian domain in England and Continental Europe as well as in Czarist Russia. It will examine how and why prominent individuals such as Matthew Parker, Ralph Cudworth, Edward Pococke, and Isaac Newton accumulated their collections of books.

Many of these private collections were donated to or bought by public institutions, and became central in establishing a basic curriculum for the study of Hebrew and Judaica. The topic necessarily raises the question of the availability of Hebrew books.

German humanists in the sixteenth-century circle of Johann Reuchlin and later in the ever wider republic of letters surrounding the great Hebraist Johann Buxtorf and Joseph Scaliger shared information about their latest acquisitions of Hebrew books and their dealings with booksellers and printers.

Other collectors such as the Christian Kabbalist Francesco Zorzi left detailed information about their library of Hebrew books in catalogues, revealing precious data about prices of books and numbers of copies of individual works in circulation.

Although the main focus of the conference will be on Hebrew collections in England and Continental Europe, some attention will also be given to collections in Czarist Russia and in the New World. James Logan’s library which became absorbed into the Library Company in Philadelphia attests to the importance of biblical and rabbinic literature in the New World.

As the foremost learned collection of its kind in colonial America Logan’s library demonstrates how the European Republic of Letters had not only reached the western shores of the Atlantic by the early eighteenth century but was also an important part of it.

No less significant were the outstandingly important Russian public and private libraries that were created and moulded by prominent Hebraists of distinctively different backgrounds – the Protestant theologian and Bible scholar Konstantin von Tischendorf and the Russian Orthodox Church archimandrite, Antonin, head of the Russian Orthodox mission in Jerusalem.

The Russian case highlights the main questions that this conference seeks to address. What was the motivation for collecting Hebrew books, how were they collected, and did confessional difference affect the criteria for building libraries? To bring these questions into even greater relief the conference will end with a response that comes from the realm of one of the greatest Jewish collections of Hebrew books, that of David Oppenheim, whose library was bought by the Bodleian library in the 19th century and became one of its greatest assets.

Programme

Monday, 22 May 2017
* Martyn Percy (Dean of Christ Church, Welcome
* Jan Joosten (University of Oxford, Introduction
* Saverio Campanini (University of Bologna), New Evidence on the Formation of Francesco Zorzi’s Library in Renaissance Venice
* Ilona Steimann (University of Munich), Forming a Hebraist “Canon” of Jewish Literature: German Hebraica Collections around 1500
* Piet van Boxel (University of Oxford), A Sixteenth-Century Censor and his Collection of Hebrew Books.

* Joanna Weinberg (University of Oxford), The Library of Johann Buxtorf the Elder
* Kasper van Ommen (University of Leiden), ‘Je suis pauvre en tout, mesmement en livres’. Joseph Scaliger as a Book Collector of Hebraica
* Benjamin Williams (King’s College London), Connections at Christ Church: Edward Pococke and his Copies of Maimonides’ Commentary on the Mishnah
* César Merchán-Hamann (University of Oxford), Short Presentation of Hebraica Collections in Oxford
* Rahel Fronda (University of Oxford), Jewish Books and their Christian Collectors: Christ Church Connections (Exhibition)
* Hugh Williamson (University of Oxford), Book Launch.

Tuesday, 23 May 2017
* Theodor Dunkelgrün and Scott Mandelbrote (University of Cambridge), Some Hebrew Collections and Collectors in the Colleges of Cambridge
* Shimon Iakerson (University of St Petersburg), Who Collected Hebrew Books in Czarist Russia and Why
* Arthur Kiron (University of Pennsylvania), An Atlantic Hebrew Republic of Letters
* Joshua Teplitsky (University of Stony Brook), Encounters Beyond the Text: Christian Readers and Jewish Libraries.

The conference will launch a major exhibition, Jewish Books and their Christian Readers: Christ Church Connections, curated by Dr Rahel Fronda.

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