Entries Tagged as 'europe'

Disegno: Drawing in Europe, 1520–1600

EXHIBITION: Disegno: Drawing in Europe, 1520–1600, The J. Paul Getty Center, 13 November 2012 – 3 February 2013.

Contorted, elongated forms and dramatically animated compositions characterize the emerging artistic style of the late Renaissance (about 1520–1600). Concerned with grace and virtuosity in the depiction of the human figure, this new style is best identified with the rise of the Italian concept of disegno, referring not only to the physical act of drawing but also to the essence of creative design.

This exhibition explores the various radical iterations of the style from its origins in Florence across Europe, featuring rare drawings from the J. Paul Getty Museum’s collection by Italian, French, and Netherlandish artists, together with five works from the Los Angeles County Museum of Art.

Italy: Florence and Beyond. Florentine artists such as Jacopo Pontormo, Rosso Fiorentino, and Giorgio Vasari were at the forefront of the new style that reflected disegno, as they combined energy with elegance, approaching traditional motifs with a novel playfulness. In 1568, Vasari wrote that disegno, in the sense of “drawing,” was the father of the three arts of painting, sculpture, and architecture. Yet he also emphasized that the term should also encompass the concept and spark of creation—it was “the animating principal of all creative processes.” Several decades later, with some clever wordplay, Federico Zuccaro used disegno as evidence that all artistic design was divinely inspired: It was the segno di Dio (sign of God).

Jacopo Pontormo’s creative process took place directly on paper in a frenzy of drawing. In the Male Nude he captured the motion and dramatic pose of a young model in a rapid succession of bold strokes. The shadow on the back of the model’s left side is conveyed through its reinforced outline. Such studies of figures from life formed the basis for the characters in Pontormo’s paintings, which sometimes became exaggerated assemblages.

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Manuscripts and Their European Princes

VIRTUAL EXHIBITION: Manuscripts and Princes in Medieval and Renaissance Europe.

These were the books that once belonged exclusively to emperors and kings. Now 34 of the most significant manuscripts from the collections of Carolingian Emperors, the Aragonese kings of Naples and French King Charles V and his family are on display in our virtual exhibition: Manuscripts and Princes in Medieval and Renaissance Europe.

This unprecedented collection offers an insight into European cultural activity during three distinct historical periods and unites collections that are scattered among several European libraries.

European scholar Michel Pastoureau and specialist in medieval history supports the exhibition.

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Nuns’ Literacies in Medieval Europe

CONFERENCE: Nuns’ Literacies in Medieval Europe. II. An international and interdisciplinary conference, University of Missouri–Kansas City, USA, 5-8 June 2012.

This confernce is designed to bring together specialists working on diverse geographical areas to create a dialogue about the Latin and vernacular texts nuns read, wrote, and exchanged, primarily from the eighth to the mid-sixteenth centuries. International experts will address these issues in Kansas City. The resulting papers from this conference will form the chapters of a published volume.

It is the second in a series of three: the first conference was held in Hull from 20–23 June 2011; a third meeting will be held in Antwerp in June 2013.

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Dürer and Central European Drawings

EXHIBITION: Dürer and Beyond: Central European Drawings in The Metropolitan Museum of Art, 1400–1700, New York, The Metropolitan Museum of Arts (Galleries 691–693), 3 April – 3 September 2012.

This exhibition is the first to offer an extensive overview of the Museum’s holdings of early Central European drawings, many of which were acquired in the last two decades. An emphasis on works by later sixteenth- and seventeenth-century artists is balanced by a selection of German drawings from the fifteenth and earlier sixteenth century, of which some of the most exceptional ones—including works by Albrecht Dürer—entered the Museum with The Robert Lehman Collection in 1975.

Accompanied by a catalogue.

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Beyond Europe in the Early Modern Print

CALL FOR PAPERS: Organizing the World Beyond Europe in the Early Modern Print, RSA, San Diego, 4-6 April 2013.

This session seeks to expand on recent scholarly inquiries into the role of prints in both mediating and organizing knowledge in the early modern period. Current interdisciplinary interventions among art historians and historians of science, such as the Fogg Museum’s 2011 exhibition Prints and the Pursuit of Knowledge in Early Modern Europe, have secured the place of print in the formalization of new disciplines and technologies.

Many printed genres of the early modern period asserted their informational properties and presented their contents as data; this panel will inspect the organization of that data into visual formats. Prints produced by artists in the age of expansion embraced, craftily adjusted, or outright rejected an engagement with naturalism to suit the demands of conveying unfamiliar material.

The frameworks of visualization that accommodated extra-European material often tread a tightrope between descriptive and normative ends, frequently producing hybrids to ratify claims of empirical experience. Here we will examine how information was recorded and formalized in the methods that early modern artists used to filter, organize, and familiarize strange new material with which they came into contact.

We invite papers that consider this phenomenon in cosmographies, natural histories, travel compendia, botanicals, costume books, physiognomies and other genres that explore things of the world in relation to the lay of the land.

Please send a 150-word abstract and an abbreviated c.v. to both Stephanie Leitch and Ashley West using the subject heading “RSA 2013”.

Deadline: 25 May 2012.

Source: H-ArtHist

Court Residences as Places of Exchange

SUMMER COURSE: Court Residences as Places of Exchange in Late Medieval and Early Modern Europe, Utrecht (The Netherlands), with field trips to various castles and residences in The Netherlands and Germany. Date: 1-11 July 2012. Organisation: PALATIUM in cooparation with the Onderzoekschool Kunstgeschiedenis (Dutch Postgraduate School for Art History). Supervisors: Professor Konrad Ottenheym (U. Utrecht) & Martijn van Beek (secretary OSK).

This summer school will focus on the late medieval and early modern European court residence or ‘palace’ in an interdisciplinary perspective. The world of the courts 1400-1750 constituted a network of truly European scale and international character, but its architecture is only rarely studied in its connectivity. Here the ‘palace’ is seen as a place for cultural exchange. Human interaction in this space is regulated and codified by a set of rules, known as the ‘ceremonial’.

The interaction between palace architecture (tangible), including its interior decorations and stately collections, and the ceremonial (intangible, but known through a set of tangible testimonials of different types, written and visual) is one of the key questions this summer school aims to address. The palace’s space and form carry multiple connotations. To the informed observer they represent power, lineage, and tradition versus innovation. The decoding of this system of signs necessitates input not only of architectural and art historians, but also of various other disciplines, such as archaeology, social history, politics, literature, theatre and music.

Important questions that will be addresses in this summer school are focused upon the sovereignty’s space and its rituals. Of crucial importance in the ceremonial and spatial organization of the residences were the etiquette and settings used for the official confrontation between different courts at diplomatic receptions of foreign princes, ambassadors and other distinguished visitors. How was the spatial order and hierarchy of rooms, leading from the entrance of the residence to the audience hall or the stage for stately banquets? How were the different levels of distance or closeness to the nucleus of power visually expressed? What was the relationship between the state rooms and the private sections of the residence?

In connection with the previous questions also the iconography of the residence exterior and interiors will be discussed, especially the display of lineage, kinship, and tradition. Claims of age-old and noble origin were of vital symbolic and identity-creating value for several European courts, regardless of political status and size. Were particular iconographic meanings expressed in relation to specific local or regional circumstances? Were the symbolic values displayed only in the more public areas, or were less accessible parts of the residence also the object of significant iconographic programs? Which role had art collections here?

The lectures at the summer school will deal with residences all over Europe. The field trips will focus on the most relevant examples in the Low Countries and its surrounding areas. The summer school aims at stimulating exchanges of knowledge and experience by offering lectures by historians, architectural historians and art historians. It is open to Research MA students and PhD’s in these disciplines from all nationalities, so as to mirror the international network of courts that is being examined.

Lectures will be given by: Johan Carel Bierens de Haan (Paleis Het Loo, Apeldoorn, The Netherlands), Lex Bosman (University of Amsterdam), Monique Chatenet (Centre André Chastel, Institut national d’histoire de l’art, France), Karolien De Clippel (Utrecht University, The Netherlands), Krista De Jonge (University of Leuven, Belgium), Rudi Ekkart (Netherlands Institute for Art History – RKD, The Netherlands), Willemijn Fock (Leiden University, The Netherlands), Bernardo García García (Universidad Complutense de Madrid/Fundación Carlos de Amberes, Spain), Stephan Hoppe (Ludwig-Maximilians-Universität München, Germany), Konrad Ottenheym (Utrecht University, The Netherlands), José Luis Sancho (Patrimonio Nacional, Spain).

Participation in the summer school is free. Those who are accepted will enjoy free lectures and excursions. For participants from outside the Netherlands this includes also as free stay at the Strowis Inn hostel in Utrecht. Participants will have to pay their own travel to Utrecht, as well as their own food and beverage.

The summer school is open to everyone, but is specifically aimed at master students and doctoral students in history, architectural history, art history, archaeology, or related disciplines. The number of participants that can be accepted is limited.

To apply, you must submit by e-mail a short curriculum vitae (including your full contact details) and a letter of motivation.

Deadline: 15 April 2012.

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Portraits in Renaissance Europe

CALL FOR PAPERS: Beyond the Frame: Portraits and Personal Experience in Renaissance Europe, c.1400 – 1650, First Annual Postgraduate Renaissance Symposium, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN, 28 April 2012. Organized by Emily Gray and Harriette Peel.

In Renaissance art historical scholarship, the category of the portrait has provided a key framework for thinking about and discussing representations of the individual, an emphasis that has been echoed in a range of recent exhibitions celebrating Renaissance ‘faces’.

The inaugural Renaissance postgraduate symposium invites new scholars to explore the limits of this framework. It aims to encourage students of the Renaissance, in its broadest definition, to consider the domestic, devotional and urban environments of portraits. Contributors are invited to consider how the experience of viewing, commissioning and living with portraits affects our understanding of their meaning and function, situating the images within their historical contexts rather than within the museum’s exhibition space. Likewise, we invite participants to challenge the terminology of portraiture and to consider objects and images which do not fit into the conventional category of the ‘portrait’ but which nevertheless ‘portray’ individuals.

Topics could include, but are not limited to:
– Self-fashioning
– Portraiture and problems of terminology
– Public and private spaces for portraits
– Portraiture and its relationship to literature, music & architecture
– Fashion, make-up and adornment
– Experience of the domestic space
– Mimesis
– The role of the patron
– New media: engravings, woodcuts, etchings
– The relationship between portrait and narrative
– Author portraits and book illustrations
– Funerary monuments
– Exhibiting Renaissance portraiture
– Collecting habits.

The Renaissance Symposium offers the opportunity for research students at all levels from universities in the UK and abroad to present their research and receive feedback in a friendly and constructive environment. We cannot offer travel subsidies for speakers, and therefore students from outside London are encouraged to apply to their institutions for funding to attend the symposium.

Please send proposals of 250 words for papers of 20 minutes, and a short biography to: renaissance.consortium@courtauld.ac.uk.

Deadline: 20 January 2012.

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Les conséquences des transferts artistiques

CONFERENCE: Les aspects socioprofessionnels des transferts artistiques, Université de Toulouse 2-Le Mirail, Bibliothèque d’Etudes méridionales, vendredi 2 décembre 2011.

Le constat de l’ampleur et de l’importance de la mobilité des artistes et des oeuvres dans l’Europe médiévale a déjà été fait et cette mobilité constitue un objet de recherches pour les historiens de l’art depuis plusieurs années. Cependant, les questions soulevées par ces déplacements appelaient une première tentative de synthèse visant à dépasser le simple repérage du parcours des hommes et des oeuvres et à en examiner les effets et les conséquences sur la production artistique des espaces concernés. Partant de ce constat, l’Institut national d’histoire de l’art, l’université de Liège et l’université de Toulouse se sont associés depuis 2009 autour d’un programme de recherche intitulé Transferts et circulations artistiques dans l’Europe de l’époque gothique (XIIe-XVIe siècle).

Ce projet vise à appréhender ces circulations d’artistes, d’oeuvres ou de modèles dans le rapport dynamique et dialectique qu’elles entretiennent avec leurs milieux d’accueil et de réception : quelles peuvent être les conditions et modalités de ces transferts d’artistes ? Quelles peuvent être leurs conséquences sur la carrière de l’artiste, sur le réseau de la commande ? Quelle signification peut être liée à l’emploi d’un artiste exogène, loin de son milieu d’origine ? Quelles ont été les conditions et contraintes statutaires, réglementaires, techniques, fiscales que ces artistes ont dû remplir ? Les techniques et savoir-faire locaux ou importés cohabitent-ils, s’imbriquent-ils ? Quelle a été la place assignée à ces oeuvres dans leur système de réception et, par effet retour, le système d’origine a-t-il été touché par des reconfigurons particulières à l’issue de ces transferts ?

Toutes ces questions, et bien d’autres, sont celles que soulèveront trois journées d’études organisées entre 2010 et 2012 qui constitueront les jalons de la réflexion collective :

* Les transferts techniques et technologiques dans l’Europe gothique (13 décembre 2010 – Institut national d’histoire de l’art, Paris)
* Les aspects socioprofessionnels des transferts artistiques (2 décembre 2011 – Université de Toulouse II-Le Mirail, umr 5136-framespa)
* Les transferts iconographiques et stylistiques à l’époque gothique (16 novembre 2012 – Université de Liège, Transitions-Centre d’études du Moyen Âge tardif et de la première Modernité).


9h – Accueil des participants
* Philippe Bernardi (CNRS UMR 8589 LAMOP), Déplacements professionnels et plan de carrière : l’exemple d’Hélion l’Auvergnat dans la Provence du XV e siècle
* Etienne Hamon (université de Picardie), Les stratégies migratoires des artistes face aux grands programmes urbains en France à la fin du Moyen Âge, et leur impact sur la création : l’exemple du pont Notre-Dame à Paris vers 1500
* Arnaldo Sousa Melo (université du Minho, Braga) et Maria do Carmo Ribeiro (université du Minho, Braga), La mobilité des artistes de la construction dans les chantiers portugais au Moyen Âge
* Klàra Benešovskà (Institut d’Histoire de l’Art de Prague), Transformation des artistes exogènes en artistes locaux : l’exemple de la famille Parler en Bohême, 1360-1420

14h30 :
* Rafal Quirini-Poplawski (université Jagellon, Cracovie), On the Origin of Artisans Active among the Genoese Colonies in the Late Medieval Black Sea Area
* Julien Chapuis (Bodemuseum, Berlin), La carrière et l’activité des artistes exogènes à Cologne, l’exemple de Stefan Lochner (v. 1410-1451)
* Hanno Wijsman (CNRS – Institut de recherche et d’histoire des textes), La ville de Bruges des années 1460-1490 comme melting-pot des artisans du livre au XVe siècle
* Clario Di Fabio (université de Gênes), Trasferte e trapianti di scultori nell’Italia del centro-nord fra Due e Trecento
* Sophie Cassagnes (université de Toulouse 2-Le Mirail), À la conquête d’un marché de l’art, la filière flamande à Londres à la fin du Moyen Âge
Discussion et Conclusion.

Source: H-ArtHist

Mobilité des clercs en Europe (XIIe-XVe siècles)

CONFERENCE: Mobilité des clercs et circulation culturelle en Europe (XIIe-XVe siècles), Workshop du GDRE « Aux origines de la modernité étatique en Europe L’héritage des clercs médiévaux », Château d’Angers, 17-19 novembre 2011.


Jeudi 17 novembre 2011– Château d’Angers
14h00 – Fabrice DELIVRÉ (MCF, Paris I-Panthéon Sorbonne), Dominique IOGNA-PRAT (Directeur de recherche, CNRS), Hélène MILLET (Directrice de recherche, CNRS) : Bilan et programmation des ctivités du GDRE ; appels à projets européens ; perspectives d’élargissement.

Vendredi 18 novembre 2011 – Château d’Angers
9h00 – Thème : La mobilité des clercs en Europe
* Fabrice DELIVRÉ (MCF, Paris I-Panthéon Sorbonne), Hugues LABARTHE (UMR FRAMESPA, Toulouse II-Le Mirail), Les translations épiscopales en Europe au XIVe siècle
* Maria do Rosário MORUJÃO (PR, Université de Coimbra, Portugal), La mobilité des clercs portugais au Moyen Âge
* Hermínia VILAR (PR, Université d’Évora, Portugal), Maria João BRANCO (PR, Universidade Nova, Lisbonne, Portugal), Contacts et échanges : la circulation et les carrières de quatre archevêques portugais des XIIIe et XIVe siècles
* Thierry KOUAMÉ (MCF, Paris I-Panthéon Sorbonne), La mobilité universitaire des clercs médiévaux
* Thierry PÉCOUT (MCF, Université de Provence, IUF), Mobilité des clercs et espace politique : provinces ecclésiastiques d’Arles, Aix, Embrun et principau- té angevine (milieu XIIIe-milieu XIVe siècle)

15hoo – Thème : La culture juridique des clercs dans les territoires angevins
* Gergely KISS (MCF, Université de Pécs, Hongrie), La culture juridique des clercs dans le royaume de Hongrie sous les rois angevins au XIVe siècle
* Jean-Michel MATZ (PR, Université d’Angers), La culture juridique des clercs en Anjou-Maine (XIVe-XVe siècles)
* Amandine LE ROUX (ATER, Université du Havre), Les bibliothèques juridiques des collecteurs de Provence et de Tours au XIVe siècle
* Maria Alessandra BILOTTA (Post-doctorante, Université Lille 3 – Universidade Nova de Lisbonne), Présences européennes dans le Midi de la France : les aspects internationaux de la production des manuscrits juridiques enluminés en Languedoc et en Provence entre XIIIe et XIVe siècle

Samedi 19 novembre 2011 – Bibliothèque municipale d’Angers
9h30 – Thème : Le patrimoine des livres manuscrits du Moyen Âge
* Marc-Édouard GAUTIER (Bibliothèque municipale d’Angers, Conservateur des Fonds anciens), Les manuscrits juridiques médiévaux conservés à Angers (présentation, atelier de travail)
* Yann POTIN (Archives nationales, Paris, Chargé d’études documentaires), L’ombre portée du trésor : regards
* Fabrice DELIVRÉ (MCF, Paris I-Panthéon Sorbonne), Conclusions comparés sur la transmission des bibliothèques ecclésiastiques et princières à la fin du Moyen Âge

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Oriental Silks in Medieval Europe

International Colloquium: Luxusgewebe des Orients im westlichen Mittelalter / Oriental Silks in Medieval Europe, Riggisberg, Abegg-Stiftung (Werner-Abegg-Str. 67), 29 September – 1 October 2011. Organized by Dr. Juliane von Fircks (Universität Mainz) and Dr. Regula Schorta (Abegg-Stiftung Riggisberg).

During the Middle Ages various kinds of luxury objects originating in the East-–figured silks, ceramics, metal and glass vessels, but also paper—reached Europe via the Silk roads, the Black Sea and the Mediterranean, be it as presents in diplomatic exchange or as merchandise. In particular the elaborately patterned, often gold-enriched silks from the Middle East, Central Asia or China were much sought after. Until today, many of them can be found in European church treasuries and museum collections.

The colloquium aims at bringing together the research on Eastern luxury textiles in Western Europe accomplished during the last years in various fields. The single achievements concerning technology, pattern evolution, and processing of the silks shall be highlighted in view of the multifaceted exchange between East and West. Only rarely direct bridges can be built connecting textiles preserved in the West with their patrons or donators in the East. To further clarify the specific character of the contribution and reception of Eastern textiles in Western Europe, objects preserved and used in the West shall be confronted with textiles or garments found in the East and reflecting their use there.

Using a wide perspective, the colloquium asks for continuity and change in the adoption and reception of Eastern silks in Western culture.  Thus, the survey of the Middle Ages will start in Carolingian and Ottonian times, put a certain emphasis on the time of the Mongol Empire, and end with an outlook on the use of (Western) luxury textiles at the court of the Ottoman Sultans at the end of the fifteenth and beginning of the sixteenth century.


Thursday, 29 September
Afternoon: Introduction by Juliane von Fircks (in collaboration with Regula Schorta); Michael Alram (Vienna), The Impact of Sassanid Persia on the Political and Economic Situation along the Silk Road; Regula Schorta (Riggisberg), Central Asian Silks in East and West in the Second Half of the First Millennium; Anna Bücheler (Toronto/Rottweil), Textile Material – Textile Meaning: Silk-inspired Pages in Medieval German Manuscripts

Evening lecture (open to the public): Jaroslav Folda (Chapel Hill), Chrysography on the Drapery of the Virgin: Icon to Altarpiece in the Thirteenth Century

Friday, 30 September
Morning: Isabelle Dolezalek (Berlin), Ornament between East and West: Same Form – Same Function? A Comparative Study of Arabic Writing on Textiles from Norman Sicily and Fatimid Egypt; Irena Vladimirsky (Achva), Indian Guests at the Court of the Moscow Tsar: Community of Indian Merchants in Astrakhan’, ninth to fourteenth centuries; David Jacoby (Jerusalem), Silks at the Time of the Mongols: Aspects of East-West Trade; Joyce Denney (New York), Clothing from the Mongol Empire, with Particular Reference to China and Gold-Woven Textiles; Caroline Vogt (Riggisberg), A Central Asian Garment of an Eastern Fabric? A Cloth-of-Gold Garment in the Abegg-Stiftung Collection

Afternoon: Felicitas Schmieder (Hagen), Western Images of the Mongols. Observations on Clothing of Foreign Peoples on Medieval World Maps; Nicole Cartier (Mont Saint Eloi), La Chasuble du Chapitre de Ste Aldegonde de Maubeuge (France); Kristin Böse (Cologne), Beyond Foreignness: Andalusian Tissues from the Castilian Royal Tombs in S. María de las Huelgas-Burgos; Lisa Monnas (London), Textiles and Diplomacy in Venice in the Fifteenth and Sixteenth Centuries

Saturday, 1 October
Morning: Maria Ludovica Rosati (Pisa), The so-called Vestments of Benedict XI in Perugia as an Example of “planeta de panno tartarico albo deaurato de opera curioso minuto por totum”. The fourteenth-century Perception of Oriental Textiles in Vatican Inventories and Material Evidences; Katja Schmitz-von Ledebur (Vienna), “eyn ander Braun Rok mit swarczen Adelarn und eyn Gugel”: The Eagle Dalmatic Belonging to the Coronation Robes of the Holy Roman Empire Made of a Chinese Silk Damask; Evelin Wetter (Riggisberg), “De panno tartarico» or «de nachone”? Perception of Oriental Silks at the Court of the Bohemian Kings during the Fourteenth Century; Markus Ritter (Zürich), Changing Iconographies: The Royal Cloth-of-Silk-and-Gold for Sultan Abu Said from Iran in the Burial of Duke Rudolph IV from Austria

Afternoon: Juliane von Fircks (Mainz), Liturgical Vestments made of Silks from Asia Venerated as Relics of the Emperor: The so-called Heinrichs- gewänder in the Alte Kapelle in Regensburg; Birgitt Borkopp-Restle (Bern), Striped Gold Brocades with Arabic Inscriptions in the Gdask Treasury of Liturgical Vestments; Michael Peter (Riggisberg), A Head Start through Technology.  Early Oriental Velvets and the West; Louise Mackie (Cleveland), Italy and Istanbul: Italian Textiles and the Ottoman Court; Summary, by Regula Schorta (in collaboration with Juliane von Fircks)

Registration and further information: info@abegg-stiftung.ch

Source: H-ArtHist

Pratiques religieuses et livres d’heures

Journée d’études: Pratiques religieuses et livres d’heures dans les sociétés de l’Europe méridionale (XIIIe-XVIe s.)Avignon et Aix-en-Provence, 16-17 septembre 2011.

Cette journée s’inscrit dans une série de rencontres internationales organisées depuis 2009 par Christiane Raynaud (Université de Provence) et Paul Payan (Université d’Avignon) autour des livres d’Heures produits et utilisés en Europe méridionale à la fin du Moyen Âge.

La rencontre avignonnaise de 2011 sera centrée sur la production de la France méridionale et sur celle de la Péninsule ibérique, beaucoup moins connue. Elle permettra en outre de s’interroger sur l’usage de ces livres, et sur le rôle fondamental et singulier des images dans ces pratiques individuelles de dévotion.


Vendredi 16 septembre 2011 : Journée d’études internationale organisée par le CIHAM – UMR 5648 (Université  Lumière Lyon 2, CNRS, EHESS, ENS  Lyon, UAPV), Université d’Avignon (Salle 2E02)
10h00 : Introduction (Paul Payan)
Présidence de séance : Francesca Manzari (Rome – La Sapienza)
Production et usage des livres d’Heures dans la Péninsule ibérique
Josefinà Planas (Université de Lleida), Valence, Naples et les routes artistiques de la Méditerranée  le Psautier-Livre d’Heures d’Alfonse le Magnanime; J. Antoni Iglesias (Barcelone), Livres d’Heures : le miroir de la documentation notariale contemporaine (Catalogne, XIVe-XVe s.); Discussion

Livres d’Heures de la France méridionale
11h30 : Maria Alessandra Bilotta (Université Lille 3 ; Universidade Nova de Lisboa), Livres d’heures et livres liturgiques enluminés en Languedoc et en Provence entre XVe et XVIe siècle: état de la question et perspectives de recherche; Emilie Nadal (Toulouse II-Le-Mirail), Un livre de prières sur mesure  étude du manuscrit Ms. 520 de la Bibliothèque Mazarine (Paris)

Présidence de séance : Jean-Loup Lemaître (EPHE)
Images et pratiques de dévotion
14h00 : Marie-Claude Leonelli (DRAC), Cycles narratifs dans quelques livres d’Heures avignonnais de la fin du XIVe siècle; Béatrice Beys (Université Paul Valery Montpellier 3), L’image de Vincent Ferrier dans les livres d’Heures de la fin du Moyen Âge; Véronique Rouchon (Université Lumière-Lyon 2), L’enfance des Heures 16h00 : Paul Payan, (Université d’Avignon), La vie du Christ et la dévotion privée à la fin du Moyen Âge; Guy Lobrichon (Université d’Avignon); Conclusions

Samedi 17 septembre 2011 : Journée internationale d’études doctorales organisée par l’Université de Provence, la Région PACA, l’UFR Civilisations et Humanités, l’Ecole Doctorale ED 355, Aix-en-Provence
9h 30 :  Allocution  de bienvenue, Régis Bertrand  (Université  de Provence)
Introduction, Christiane Raynaud (Université de Provence)
Diffusion des Heures et pratiques de  dévotion dans l’Italie du Quattrocento
Présidence de séance : Josefinà Planas (Université de Lleida),
Anna  Malipiero (Post-Doc École des Chartes), Pratiques religieuses féminines et livres d’Heures  à Milan; Valérie Guéant (Lille III), Le livre d’Heures dans la ville pontificale au XVe siècle; Francesca Manzari (Rome, La Sapienza), Pratiques de dévotion en Italie (XIII-XIVe siècles). Migration de textes et images entre livres d’Heures et livres de dévotion; Rowan Watson (Londres, Victoria and Albert Museum), Pratiques dévotionnelles à Naples à la fin du XVe siècle

Livres d’Heures et culture des élites
Présidence de séance : Rowan Watson (Victoria and Albert Museum),
14h :  Christiane Raynaud (Université de Provence), La pratique des Heures en Languedoc : l’exemple d’Antoine Bourdin; Yannick Frizet (Université  de Provence), Une approche de l’individu au XVe siècle à travers les livres d’Heures et les œuvres littéraires de René d’Anjou; Jacqueline Steinbach (Université de Provence), Pratiques dévotionnelles, réminiscences antiques et calendrier des Heures  dans  les manuscrits catalans; Fabien  Roucole (Université de Provence), Bibliophilie  et diplomatie : les livres d’Heures dans les Bibliothèques des princes de l’Eglise; Discussion
Jean-Loup Lemaître  (EPHE, IVe section), Conclusions

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The Printed Image in a Culture of Print

CONFERENCE: The Printed Image within a Culture of Print: Prints, Publishing and the Early Modern Arts in Europe, 1450-1700, Courtauld Institute of Art (Somerset House, Strand, London WC2R, Research Forum, South Room), University of London, 9 April 2011.

From the fifteenth through the seventeenth century, the advent of print utterly changed the production of images. A repertoire of images of all kinds, from the crudest woodcut to the most virtuosic engraving, from broadsides of wonders and prodigies to pictures reproducing famous paintings and sculptures, was put into the hands of both image-makers and consumers of images. New possibilities for allusion and intertextuality came into being thanks to this bridge between the image and its publics. And the publication of printed images, a commercial venture, widened the spectrum of those who bought images, producing new kinds of viewers and readers.

This one-day conference focuses on the relations between print culture and the visual arts as a whole, looking not only at the artist’s print as produced by the peintre-graveur, but at the relations between the entire spectrum of print and what we think of now as ‘fine art’.

Since the 1990s when the studies of Roger Chartier inspired work across many historical disciplines, much has been claimed for the impact of printed media on social, intellectual and cultural life in early modernity. The study of popular culture, the history of mentalités, book history and reception studies across a diverse range of periods and cultures have all profited from opening up the area known loosely as print culture. Art historical studies, however, have not often referred to this body of research. Bringing together some of the disciplines that study print culture to focus on the image and the printed text opens up new questions of concern to historians and literary historians as well as to students of the art print.


9.30, Registration; Sheila McTighe (Courtauld Institute of Art), Introduction.

10.15 –  Session 1: Prints and Political Culture
Fanny Lambert (Institut national d’histoire de l’art, Paris), Ceremonies in Print; Gary Rivett (Sheffield University), Engravings of Charles I, Cheap Print and Politics in Early Restoration England; Helen Pierce (Aberdeen University), Playing for Laughs? Cards, Cartoons and Controversy During the Exclusion Crisis; Discussion.

12.00 – Session 2: Prints and the Culture of Exchange
Femke Speelberg (Dutch Postgraduate School for Art History), The Printed Image as Lingua Franca: The Case of Fontainebleau; Joris Van Grieken (Royal Library of Belgium), ‘Om ’t volckx wille’ (‘For the People’s Sake’) Hieronymus Cock and the Marketing of Printed Images; Robert L. Fucci (Columbia University), Jan van de Velde’s Vanishing Gentry: Plate Manipulation in an Early Seventeenth-Century Dutch Genre Etching; Stephanie S. Dickey (Queen’s University, Kingston), Publication, Inscription and the Transformation of Meaning; Discussion.

14.40 – Session 3: Prints and Intellectual Culture (Part I), Chair: Sheila McTighe (Courtauld Institute of Art)
Marisa Bass (Harvard University), Borrowed Love: A “Caritas” Woodcut in a Humanist Manuscript; Christophe Brouard (Université Paris I – Panthéon Sorbonne), Portraying Renaissance Rurality in Venice during the First Half of the Sixteenth Century; Discussion.

15.40 – Session 4: Prints and Intellectual Culture (Part II), Chair: Sheila McTighe (Courtauld Institute of Art)
Susanna Berger (Cambridge University), Illustrated Broadsides and the Performance of Natural Philosophy: A Study of Printed Images Within Early-Modern Academic and Ceremonial Contexts; Paris Amanda Spies-Gans (Getty Institute/Independent scholar), Anna Maria van Schurman (1607-1678): Self-Portraiture, Humanist Portrait Exchange, Women in Print (Title tbc); Anita V. Sganzerla (Courtauld Institute of Art), Stefano Della Bella’s ‘Hand-Screen with Picture Puzzles on the Themes of Love and Fortune’ and Early Modern Print Culture in Florence; Discussion.

17.15 – Session 5: Print Culture and the Painter, Chair: Emily Gray (Courtauld Institute of Art)
Matthias Wivel (Cambridge University), Titian and the Printed Vernacular, c. 1514-1530; Todd P. Olson (University of California, Berkeley), Net of Irrationality: Decay in Early Modern Prints; Reception.

Organizers: Dr. Sheila McTighe, Senior Lecturer; Emily Gray and Anita Sganzerla, PhD candidates; Courtauld Institute of Art, University of London.

To book a place: £15 (£10 Courtauld staff/students and concessions), Please send a cheque made payable to ‘Courtauld Institute of Art’ to: Research Forum Events Co-ordinator, Research Forum, The Courtauld Institute of Art , Somerset House, Strand, London WC2R 0RN, clearly stating that you wish to book for the Early Modern Printed Image conference. For credit card bookings call 020 7848 2785/2909. For details about tickets and attending the conference, contact: researchforum@courtauld.ac.uk

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