Entries Tagged as 'Art'

Religion, Art and Conflict


CONFERENCE: Religion, Art and Conflict: Disputes, Destruction and Creation, Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN, 5 – 6 December 2014.

Throughout history religion and belief have been the catalyst for the creation of great buildings and works of art. However, religious art has frequently been disputed, despised and destroyed. This one and a half day conference will examine the role of reform, ideology and conflict in the destruction and preservation of religious art and architecture. The conference will also investigate how theological disputes and religious conflicts have been the impetus for new intellectual and creative approaches to the visual and material arts.

The papers presented at the conference will cover 600 years of art history, from fifteenth-century Florence to depictions of Islam after 9/11, and a breadth of topics from medieval monasticism to William Blake’s theology of art, from Bhutanese seventeenth century art to the Vatican’s relationship with con- temporary art, and much more.

Friday, 5 December 2014, 13.30
Session 1: Cultural Interaction or Conflict?
* María Molina Fajardo (University of Granada), Building a ‘Catholic Site’: Spaces of Encounter, the Aggression and the Creation of the Village of Nigüelas (Granada) after the Castilian Conquest
* Ariana Maki (University of Colorado Boulder), Lines and Lineages: Depicting History and Religion in 17th-Century Bhutan
* David Low (The Courtauld Institute of Art), The Ruins of Ani: the Rediscovery, Destruction and Reconstruction of an Armenian City.

Session 2: Word, Image and Conflict – Liturgical Books in Late Medieval and Reformation-era England
* Jayne Wackett (University of Kent), Liturgical Images in the English Reformation: Lost, Found and Altered
* Michael Carter (The Courtauld Institute of Art), Tuppence Worth: an Annotated Missal from a Cistercian Abbey.

Keynote Lecture:
James Carley (York University, Toronto / University of Kent), ‘So myserably peryshed in the spoyle’: John Leland and John Bale on the Dissolution of the English Religious Houses.

Saturday, 6 December, 9.30
Session 3: Violence, Destruction and Creation in Renaissance and Counter-Reformation Italy
* Scott Nethersole (The Courtauld Institute of Art), ‘Art came to an end’: Making and Destruction in Fra Filippo Lippi’s Medici Altarpiece
* Anna Marazuela Kim (University of Virginia), Idols of Art and of the Mind: Sculptural and Spiritual Iconoclasm in Michelangelo’s Rondanini Pietà
* Eva Papoulia (The Courtauld Institute of Art), The Gregorian Chapel in St Peter’s: a Catholic Response to Protestant Claims.

Keynote Lecture:
Sussan Babaie (The Courtauld Institute of Art), ‘Holy’ Wars and the Visual Poetics of Innocence; Iran-Iraq, then (1980-89)

Session 4: Religion, Conflict and Identity
* Lloyd De Beer (British Museum / University of East Anglia), Burial and Belief: Alabaster Sculpture in Context
* Ágnes Kriza (University of Cambridge), Representing Destruction: Medieval Russian Visualisations of Byzantine Iconoclasm
* Emily Pegues (The Courtauld Institute of Art / National Gallery of Art, Washington D.C.), To die for an ideal’: Three Wars, One Retable and the Foundations of a Belgian History of Art.

Session 5: Religion, Art and Conflict in the Modern and Contemporary World
* Naomi Billingsley (University of Manchester), Knock, Knock, William Blake’s Here: Creative Conflict in Blake’s Illustrations of Edward Young’s Night Thoughts
* Anna Messner (University of Munich), In Search of Jewish Art and Identity: The Munich Artist Rudolf Ernst (1896-1942)
* Lieke Wijnia (Tilburg University), Religion’s Reclaim of Contemporary Art: The Vaticanat the 2013 Venice Biennale.

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Art, Knowledge and Commerce

CONFERENCE: Art, Knowledge and Commerce: Print, Publishers and the Professionalization of Printmaking in Europe (1500-1650), M – Museum of Leuven (Leopold Van der Kelenstraat 28, 3000 Leuven) and Royal Library of Belgium (Boulevard de l’Empereur 2, 1000 Brussels), 5-6 June 2013.

This colloquium is organized on the occasion of the exhibition Hieronymus Cock: The Renaissance in Print by Illuminare – Centre for the Study of Medieval Art (University of Leuven), Fondation Custodia – Collection Frits Lugt (Paris) and the Royal Library of Belgium (Brussels).

In 1550, Hieronymus Cock, a young painter and publisher from Antwerp published a monumental engraving after the School of Athens, the renowned fresco by Raphael in the Vatican. Not only was this a milestone in the dissemination of the Italian High Renaissance outside of Italy, it also marked the success of a relatively new form of organizing the production and distribution of prints. In response to the ever growing and rapidly internationalizing demand for printed images several European cities saw the emergence of publishing houses of various sizes throughout the 16th century.

Publishers would coordinate and finance the production of prints, from the preparatory drawings in the artist’s workshop, to the printing of the woodblock or copper plate at a specialized print shop. A business-minded publisher, coordinating the outsourcing and delegating of work thus became the prevailing standard. This naturally influenced the quality of the prints. Due to the fact that each craftsman involved in the process could dedicate himself entirely to his own specialty, the level of professionalism increased considerably.

In addition, publishers had an extensive network of agents at their disposal to spread their product internationally. Quite regularly print publishers took the initiative to have specific prints, or print series designed, and they trusted the work to artists and engravers whose work was expected to be commercially successful. Often print publishers had the most decisive impact on what prints would come on the market and how they would look. It will come as no surprise then, that publishers were at the forefront of the development of graphic art at the time.

Nevertheless, the actual study of these publishing houses, their organization and their production is a fairly recent phenomenon. Within the Romantic concept of the ‘Peintre-Graveur’ that exerted such a profound influence on collectors in the 19th and 20th century, the publisher – primarily a commercial actor – played no significant part.

In the past decades, much new research in this matter has been done. This has led to the wide acceptance of the idea that publishers were key figures in the artistic and commercial aspects of the society they lived in. This colloquium aims to focus on current research concerning print publishers in Early Modern Europe. Special attention is given to commercial and organizational aspects of printing and publishing, the interaction with artists, engravers, printers and publishers, and the artistic and commercial self-development of publishers.


5 June 2013 (M – Museum of Leuven, 2:00 pm)
Welcome by Joris Van Grieken followed by a scholarly visit to the exhibition Hieronymus Cock: The Renaissance in Print

6 June 2013 (Royal Library of Belgium, Brussels, 9:30 am)
Opening lecture by Ger Luijten
* Joris Van Grieken, No address mentioned. Hieronymus Cock’s ‘generic prints’
* Ed Wouk, Granvelle and Cock: new light on the aims of the Quatre Vents press
* Petra Maclot, The Four Winds: The House of the Antwerp Print Publisher Hieronymus Cock
* Virginie D’haene, Hieronymus’ Adumbrationes after Matthijs Cock: landscapes ‘in the new Italian or antique way’?
* Huigen Leeflang, The Fischerman and the Cook. Hieronymus Cock, Claes Jansz. Visscher II and their Brand Names
* Peter Fuhring, Joannes Galle as an editor of Cock: supply and demand for sixteenth century prints in mid seventeenth century Antwerp
* Jan Van der Stock, The Antwerp Print Publisher Merten Peeters van Ghelle (Martinus Petri): in the Shadow of Aux Quatre Vents
* Pieter Martens, City Views and Siege Maps: New Light on Hieronymus Cock’s Chorographic Prints
* Robrecht Janssen,‘Go on living through this painting, living through my verses’. Dominicus Lampsonius, Jan van Scorel & Anthonis Mor.

Attendance to the colloquium is free however, registration is required. Register to attend the colloquium by sending an e-mail to Annelies Vogels.

Source: H-ArtHist

Medieval and Renaissance Art and Identity

BOOK: Art and Identity: Visual Culture, Politics and Religion in the Middle Ages and the Renaissance, edited by Sandra Cardarelli, Emily Jane Anderson and John Richards, Cambridge 2012 (Cambridge Scholars), 310 pp. black & white illustrations, £ 44.99.

This book provides a fully contextualised overview on aspects of visual culture, and how this was the product of patronage, politics, and religion in some European countries between the 13th and 17th centuries. The research that is showcased here offers new perspectives on the conception, production and reception of artworks as a means of projecting core values, ideals, and traditions of individuals, groups, and communities. This volume features contributions from established scholars and new researchers in the field, and examines how art contributed to the construction of identities by means of new archival research and a thorough interdisciplinary approach. The authors suggest that the use of conventions in style and iconography allowed the local and wider community to take part in rituals and devotional practices where these works were widely recognized symbols. However, alongside established traditions, new, ad-hoc developments in style and iconography were devised to suit individual requirements, and these are fully discussed in relevant case-studies. This book also contributes to a new understanding of the interaction between artists, patrons, and viewers in Medieval and Renaissance times.

* Brendan Cassidy, Images of Saints and Political Identity in Late-Medieval Italy (pp. 3-18)
* Catherine Lawless, Civic Identity, Sanctity and Gender in Trecento Florence (pp. 19-44)
*Sandra Cardarelli, The Cathedral, the Church and the City: Celebrating Saints in the Statutes of Southern Tuscan Cities (pp. 45-70)
*Sarah Schell, Death and Disruption: Social Identity and Representation in the Medieval English Funeral (pp. 71-97)
*Jacek Kowzan, Memorare Novissima Tua. The Iconography of the Last Four Things as a Representation of Religious Identity (pp. 98-126)
*Jill Harrison, Being Florentine: A Question of Identity in the Arte della Lana, Florence (pp. 127-148)
*Kees van der Ploeg, Maintaining Identity: The Fifteenth-Century Renovation of St Lebuinus in Deventer (pp. 149-166)
*Giovanna Guidicini, The Political and Cultural Influence of James V’s Court on the Decoration of the King’s Fountain in Linlithgow Palace (pp. 167-192)
*Jennifer Vlček Schurr, The Dedication Illustration of the Passional of Abbess Cunegund – and Questions of Identity (pp. 193-218)
*Joseph Hammond, Negotiating Carmelite Identity: The Scuola dei Santi Alberto e Eliseo at Santa Maria dei Carmini in Venice (pp. 219-242)
*Laura Walters, Finding Fialetti: Examining the Oeuvre of Odoardo Fialetti through the Sources Relating to His English Patronage (pp. 243-268).

Ruptures in Medieval Italian Art

CALL FOR PAPERS: Ruptures in Medieval Italian Art & Architecture. The Italian Art Society will sponsor four linked sessions on this theme at the 2013 annual Congress on Medieval Studies, University of Western Michigan, Kalamazoo, 9-12  May 2013.

Whether moving forwards by leaps and bounds or coming to a screeching halt, the long path of Italian medieval art includes instances of back tacking, progression and return, revival and innovation. These sessions seek papers that investigate art and architecture created at moments of rupture with tradition, with accepted norms or forms, with conventions or with anticipated developments.

Common ruptures include but are not limited to iconoclasms, proto-renaissances, Church schisms, heresies and reforms, civil strife, crusades and the Black Death. To be sure, rupture is in the eye of the beholder: an egregious instance of it may, for others, constitute continuity. Accordingly, papers may address not only what was, but also what could have been in an effort to trace the footsteps of winners and losers. These panels focus on the people, events, ideas and forms that in one way or another broke with the prevailing course of the arts in medieval Italy.

Proposals should include a one-page abstract and a completed Participant Information Form to session organizer Martina Bagnoli.

Deadline: 15 September 2012.

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Three Workshops on Art & Death

CALL FOR PAPERS: Art & Death. Reaserach Forum Autumn Term 2012. London, The Courtauld Institute of Art, 1st November 2012, 21 February and 23 May 2013. Organised by Jessica Barker and Ann Adams (The Courtauld Institute of Art).

A series of three workshops will be held at the Courtauld Institute of Art in 2012-2013 to explore the inter-relationship between art and death. These workshops have arisen from an informal group of doctoral students with shared interests in funerary monuments. The workshops will be structured to recognize that the certainty of death is accompanied by the foreknowledge and uncertainty of what may come after, and that visual representations of these phases have varied over time and between countries. The first workshop will focus on the images and objects related to the impact that the certainty of death has on individuals and the community; the second on art in the context of dying, death and burial; and the final one on representations of the perceived fate of body and soul after death, as well as the continuation of a relationship (if only in memory) between the living and the dead.

Subjects for the workshops could include, but are not limited to:

Workshop 1 (1 November 2012): Anticipation and Preparation
•    Death insurance? Religious gifts and foundations
•    Protective objects and amulets
•    Tombs commissioned during a lifetime, testamentary desire and fulfillment
•    Contemplating images of death, warnings to the living
•    The cult of the macabre, images of illness and decay
•    Apocalyptic visions

Workshop 2 (21 February 2013): Death and Dying
•    A ‘good death’
•    War and violence
•    Funerals/Professional mourners
•    Funerary monuments, memorial architecture, cemetery design
•    Post-mortem portraits
•    Images of the corpse in painting, sculpture, film, photography, etc
•    Crucifixion imagery
•    Death in museum collections

Workshop 3 (23 May 2013): Life after Death
•    Images of the soul /resurrected or re-incarnated body
•    Depictions of the afterlife
•    The incorruptible body, saints, relics and reliquaries
•    Remembering the dead, commemoration in art and/or performance
•    The ‘immortality’ of the artist, post-mortem reputations.

Format and Logistics:
•    Length of paper: 20 minutes
•    Four papers per workshop
•    Location: Research Forum, Courtauld Institute of Art
•    Timing: 10am-midday
•    Expenses: funds are not available to cover participants’ expenses.

Proposals relating to all periods are welcome, media and regions (including non-European). This is an opportunity for doctoral and early post-doctoral students to share their research.

Please send proposals of no more than 250 words to Jessica Barker and Ann Adams by the following dates:
•    20 September 2012 for workshop 1 (1 November 2012): Anticipation and Preparation
•    10 January 2013 for workshop 2 (21 February 2013): Death and Dying
•    11 April 2013 for workshop 3 (23 May 2013): Life after Death

For planning purposes, it would be helpful to have an indication of interest in the later workshops, in advance of submission of a proposal.

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The Art of Devotion in the Middle Ages

EXHIBITION: The Art of Devotion in the Middle Ages, The Getty Center (1200 Getty Center Drive, Los Angeles, CA 90049-1687), 28 August – 11 November 2012 and 13 November 2012 – 3 February 2013.

Prayer, both personal and communal, was an integral aspect of life in Europe during the Middle Ages. The readings and rites contained in Christian devotional books were often accompanied by lavish decorations that were key in fostering and expressing the religious beliefs of the faithful. Executed in precious pigments and gold, illuminated manuscripts not only played a central role in the spiritual lives of medieval audiences but also served as material testaments to the piety of the books’ owners.

Public Devotion
Christian ceremonies gradually transformed into a series of complicated rites and performances over the course of the Middle Ages. The books produced for the liturgy (public worship services) often received rich decorative treatment, both to emphasize the religious importance of the readings and to symbolize the wealth and power of the church. Bibles and missals were placed on the altar during services, while music manuscripts were positioned on a lectern for multiple participants.

In a dramatic illustration that accompanies the chants for the feast of the Holy Innocents, the biblical king Herod sits at left, giving an order for the massacre of all male children under the age of two in an effort to kill the Christ child. At right a soldier holds an infant upside down by the leg, preparing to use his sword. This image appears in an antiphonal, a large manuscript that contains choral music sung during church services.

Private Devotion
Throughout the Middle Ages, small, handheld books with beautiful script and decorations encouraged private devotion, as pious individuals outside the church sought to imitate the daily prayer cycle known as the Divine Office recited by clerics, monks, and nuns. Breviaries (containing the texts of the Divine Office), psalters (with the biblical Psalms), and books of hours (an abbreviated form of the breviary for laypeople) were all designed for those who could afford such luxuries.

Devotional Literature
A variety of texts were written and illuminated during the Middle Ages to encourage piety and contemplation—and to meet a rise in literacy. The Bible and writings of early theologians, originally in Latin but also translated into local languages for greater accessibility, were primary texts. The lives of Christ and Mary, who were considered models of proper behavior, inspired imaginative accounts of events not recorded in the Bible. Illustrated stories of saints, full of entertaining narratives, also found popularity.

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Illuminated: The Art of Sacred Book

EXHIBITION: Illuminated: The Art of Sacred Book, New York, Rubin Museum of Art (150 W. 17 St., NYC 10011), 6 April – 3 September 2012.

Gold, silver, and other precious materials were often used to adorn objects of religious devotion, especially the sacred books of the living traditions of Buddhism, Hinduism, Jainism, Christianity and Islam. Materials used to produce them have always been of the best quality worthy of sacred texts and their effectiveness often rested on the measure of their lavish production.

Specifically, the exhibition Illuminated: The Art of Sacred Books explores the aesthetic and technological approaches used in creating and adorning sacred books from a variety of cultures and presents Tibetan sacred books in a broad cross-cultural context. Among featured objects are several never before displayed illuminated Tibetan manuscript pages and complete books dating as early as the 13th century written in gold and silver on dark blue and black paper of various sizes in the traditional Tibetan book format.

Through an in-depth examination of the comparable attitudes found in the presented objects, the exhibition provides new insights into what is known as the culture of the book. Other highlights from the exhibition include a bifolio of the famous “Blue Qur’an,” written in gold on indigo colored velum in Tunisia between the 9th and 10th centuries; a Japanese Buddhist Sutra scroll written in gold on indigo paper in 1720; medieval Gospels written in gold letters on blue and purple parchment; illuminated pages of Jain Sutras; and illustrated Indian Hindu classics.

In addition to these various lavishly decorated books of different faiths, created in diverse formats and materials, the exhibition also includes adorned book covers that are painted, carved from wood, and made of leather or silver repoussé as well as other objects, designated as sacred and recognized for their value as both art and devotional objects.

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Studies in Honour of Julian Gardner

BOOK: A Wider Trecento. Studies in 13th- and 14th Century European Art Presented to Julian Gardner, edited by Louise Bourdua and Robert Gibbs, Leiden – Boston 2012 (Brill).

Julian Gardner’s preeminent role in British studies of the art of the 13th and 14th centuries, particularly the interaction of papal and theological issues with its production and on either side of the Alps, is celebrated in these studies by his pupils. They discuss Roman works: a Colonna badge in S. Prassede and a remarkably uniform Trinity fresco fragment, as well as monochrome dado painting up to Giotto, Duccio’s representations of proskynesis, a Parisian reliquary in Assisi, Riminese painting for the Franciscans, the tomb of a theologian in Vercelli, Bartolomeo and Jacopino da Reggio, the Room of Love at Sabbionara, the cult of Urban V in Bologna after 1376, Altichiero and the cult of St James in Padua, the orb of the Wilton Diptych, and Julian Gardner’s career itself.


List of Contributors (p. vii)
List of Plates, Figures and Illustrations (pp. ix-xiii)
Serena Romano, Julian Gardner (pp. xiv-xxi)
Joanne Anderson, Bibliography of Julian Gardner’s Published Works (pp. xxiii-xxxii)

* Louise Bourdua and Robert Gibbs, Introduction (pp. 1-4)
* Jill Bain, Signifying Absence: Experiencing Monochrome Imagery in Medieval Painting (pp. 5-20)
* John Osborne, A Possible Colonna Family Stemma in the Church of Santa Prassede, Rome (pp. 21-30)
* Dillian Gordon, Small Worlds: The Orbs in the Westminster Retable and the Wilton Diptych (pp. 31-38)
* Joanna Cannon, Duccio and Devotion in the Virgin’s Foot in Early Sienese Painting (pp. 39-61)
* Virginia Glenn, A Royal Gift from Paris to Assisi: The Evolution of Design and Iconography circa 1300 (pp. 62-82)
* Claudia Bolgia, The Original Setting and Historical Context of the Fourteenth-Century ‘Antropomorphic Trinity’ of the Museo di Roma at Palazzo Braschi (pp. 83-98)
* Jill Farquhar, Patronising Poverty: Devotional Imagery and the Franciscan Spirituals in Romagna and the Marche (pp. 99-116)
* Martina Schilling, Celebrating the Scholar and Teacher: The Tomb of Thomas Gallus at Sant’Andrea in Vercelli (Mid 14th Cemtury) (pp. 117-143)
* Roberto Cobianchi, Bartolomeo and Jacopino da Reggio’s Brera Triptych: A Possible Source for Its Provenance (pp. 144-153)
* Anne Dunlop, The Look of Love (pp. 154-165)
* Robert Gibbs, Bologna and the Popes: Simone dei Crocefissi’s Portraits of Urban V (pp. 166-189)
* Louise Bourdua, Some Pilgrimage Sources for Altichiero (pp. 190-199)

Index (pp.201-213).

Tours 1500: Art et société de la Renaissance

CONFERENCE: Tours 1500: Art et société à Tours au début de la Renaissance, Tours, Centre d’Études Supérieures de la Renaissance (CESR), Salle Rapin (59, rue Néricault-Destouches – BP 11328 – 37013 Tours Cedex 1), 10-12 mai 2012. Réservation obligatoire. Contact


Jeudi 10 mai 2012
Matinée: Corporations et métiers tourangeaux (9h 30)
Présidence: Bernard Chevalier
* David Rivaud (historien, Tours), Topographie de la ville de Tours vers 1500, état de la question
* Frédéric Tixier (Ingénieur de recherche, Institut de Recherche et d’Histoire des Textes, Paris), Les arts somptuaires à Tours autour de 1500: état de la question et nouvelles perspectives
Rolande Collas (docteur en Histoire, Tours), Les soyeux tourangeaux
* Eric Reppel (Professeur certifié d’Histoire-Géographie, Collège Pierre de Ronsard, Bourgueil), Les armuriers à Tours de 1480 à 1520

Après-midi: Artistes et commanditaires (14h 15)
Présidence: Marie Jacob
* Pierre-Gilles Girault (Conservateur, château et musées de Blois), Peintres et commande artistique  dans les archives tourangelles
* Caroline Vrand (Doctorante, université de Franche-Comté), Tours et les collections d’objets d’art d’Anne de Bretagne
* Mara Hofmann (Assistante de recherche, Institut Warburg, Londres), Jean Poyer: Entre tradition et innovation
* Pascale Charron (Maître de conférences, Tours-CESR), Autour du manuscrit Tours BM ms 2104: les ateliers tourangeaux entre Touraine et Bourbonnais
* Alexandra Zvereva (Chercheur associé, Université Paris-Sorbonne, Centre Roland Mousnier CNRS, Paris), Jean Clouet: étranger, peintre, officier royal, notable de Tours

Vendredi 11 mai 2012
Matinée: La ville « en représentation » (9h 30)
Présidence: Pierre-Gilles Girault
* Cécile Bulté (Doctorante, Université Paris IV), Décorer et anoblir. De la capitale provinciale à la ville royale à travers le décor urbain de Tours (1480-1520)
* Jean-Luc Porhel (Directeur des Archives et du Patrimoine, Tours), Aménagement et décor du premier hôtel de ville de Tours, autour de 1508
* Jean-Marie Guillouët (Maître de conférences, université de Nantes et Conseiller scientifique, INHA, Paris), Jean Fouquet et les savoir-faire architecturaux à la cathédrale de Tours
* Nicholas Herman (Ph.D. Candidate, New York University / Theodore Rousseau Fellow, Metropolitan Museum of Art), Bourdichon urbaniste

Après-midi: L’architecture tourangelle entre style flamboyant et formes « antiques » (14h 30)
Présidence: Marion Boudon-Machuel
* Alain Salamagne (Professeur Tours-CESR), La question de l’architecture de brique à Tours en 1500
* Xavier Pagazani (Docteur Université Paris IV-Sorbonne, Centre André Chastel), Les demeures aux champs des maires-échevins de Tours autour de 1500
* Jean Guillaume (Professeur émérite à l’université de Paris-Sorbonne), L’architecture “à l’antique” à Tours : le temps des expériences (1505-1520)
* Evelyne Thomas (Docteur en histoire de l’art, Centre André Chastel, ERHAM), Le répertoire ornemental “Tours 1500”

Samedi 12 mai 2012
Matinée: « A l’antique » (9h 30)
Présidence: Pascale Charron
* Teresa D’Urso (Chercheuse en Histoire de l’art, Seconda Università degli Studi di Napoli. Maria Capua Vetere, CE), La diffusione della miniatura all’antica a Tours agli inizi del Cinquecento: artisti e committenti
* Marie Jacob (Université de Paris Ouest-Nanterre La Défense, Nanterre), Le succès du répertoire antique de Jean Fouquet autour de 1500
* Valérie Guéant (Université de Lille III, laboratoire IRHiS, Villeneuve d’Ascq), Le Maître des Missels della Rovere, dynamique de production et de transfert entre  Rome et Tours
* Maxence Hermant (Conservateur. Bibliothèque nationale de France, département des manuscrits), Le Maître de Claude de France: état de la question
* Marion Boudon Machuel et Pascale Charron: Clôture du colloque.

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Practices of Mapping Spaces

CALL FOR PAPERS: Mapping Spaces: Cartographic Practices in Art & Architecture, College Art Association (CAA), 101st Annual Conference New York, New York, 13-16 February 2013.

Maps are representations bound to a given territory or place as much as to the social, political, cultural and economic practices of their production and reception. More than mere reflections, they generate space insofar as they make visible through their graphic forms and modalities precisely what cannot be seen. Thus, if maps picture a reality that exceeds or contradicts direct vision and experience, as the geographer Denis Wood suggests, then their accuracy and correspondence to the world may be based paradoxically on their status as fictional images. This panel seeks to address how art and architecture employ cartography as a medium and practice to produce spaces and the experience and knowledge that define them. How do artists and architects employ maps to produce a territory, environment, an experience? What constitutes a cartographic practice and how does it mediate the experience and knowledge of our world? What are the conditions and consequences of a map’s representability?

Please send proposals to Min Kyung Lee, Post-doctoral Fellow in Modern Architecture, Swarthmore College.

Deadline: 4 May 2012.

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The Art of the Gift

CALL FOR PAPERS: The Art of the Gift: Theorizing Objects in Early Modern Cross-Cultural Exchange, College Art Association (CAA), New York, 13-16 February 2013.

This panel focuses on the visual culture of gifts during the dynamic early modern era, when objects of exchange played an important role in burgeoning cross-cultural encounters, long-distance economic interactions, and diplomatic engagements.  Its aim is to examine the unique contributions that art history may offer to the critical legacy of the gift with its anthropological and sociological roots, such as a concern for the visuality of objects in motion, an interest in collecting and display, and an awareness of how objects of exchange may give rise to new social and artistic practices.  The panel organizers encourage theoretically engaged papers that represent the broad geographic scope of the gift encounter, locate gifts in dynamic cross-cultural matrices of circulation and consumption, stake out territory within or in response to exchange theory, and/or consider the shifting and unstable meanings of objects as they changed hands across time and space.

Deadline: 4 May 2012.

Organizers: Nancy Um, Binghamton University; and Leah Clark, Saint Michael’s College.

Source: H-ArtHist

Byzantium and Islam: Age of Transition

EXHIBITION: Byzantium and Islam: Age of Transition, New York, The Metropolitan Museum of Art (Gallery 999), 14 March – 8 July 2012.

As the seventh century began, vast territories extending from Syria to Egypt and across North Africa were ruled by the Byzantine Empire from its capital, Constantinople (modern Istanbul). Critical to the wealth and power of the empire, these southern provinces, long influenced by Greco-Roman traditions, were home to Orthodox, Coptic, and Syriac Christians, Jewish communities, and others. Great pilgrimage centers attracted the faithful from as far away as Yemen in the east and Scandinavia in the west. Major trade routes reached eastward down the Red Sea past Jordan to India in the south, bringing silks and ivories to the imperial territories. Major cities made wealthy by commerce extended along inland trade routes north to Constantinople and along the Mediterranean coastline. Commerce carried images and ideas freely throughout the region.

In the same century, the newly established faith of Islam emerged from Mecca and Medina along the Red Sea trade route and reached westward into the empire’s southern provinces. Political and religious authority was transferred from the long established Christian Byzantine Empire to the newly established Umayyad and later Abbasid Muslim dynasties. The new powers took advantage of existing traditions of the region in developing their compelling secular and religious visual identities. This exhibition follows the artistic traditions of the southern provinces of the Byzantine Empire from the seventh century to the ninth, as they were transformed from being central to the Byzantine tradition to being a critical part of the Islamic world.

Learn more about the exhibition or the catalogue