Entries Tagged as 'Medieval'

Assistant Professor, Oakland University

JOB: Assistant Professor – Medieval, Renaissance and Baroque Art, Department of Art and Art History, Oakland University, Rochester (MI).

Description: Tenure-track Assistant Professor to teach Medieval, Renaissance, and Baroque art. The candidate’s research specialization should be in one of those three areas. A secondary specialization is open. Teaching responsibilities include sections of the introductory survey of western art history, and advanced undergraduate courses in the art of Europe from the 4th century CE to 1750. Other courses may include undergraduate seminars, a writing intensive critical thinking course, and senior thesis capstone required of all art history majors. Opportunities exist for curricular development in areas of specialization involving comparative scholarship and innovative approaches to interdisciplinary frameworks. PhD required by the appointment start date; undergraduate teaching experience is preferred.

The Department values comparative approaches to art history and will be especially receptive to scholars who investigate the intersections of historical specialties within a global context.

Located in Metro Detroit, Oakland University is a nationally recognized doctoral/research institution and one of Michigan’s fastest growing universities with more than 19,000 students. Oakland prides itself on providing a dynamic, student-focused learning environment with integration of liberal and professional studies by a faculty of dedicated scholar-teachers. The Department of Art and Art History offers programs of study leading to the Bachelor of Arts degree with a major in Art History, in Studio Art, in Studio Art with K-12 Art Education Certification, or in Graphic Design. The Department’s curriculum encompasses art-making as an aesthetic expression of intellectual vision, and contextual study and research into the exceptional range of aesthetic expression throughout history.

First consideration will be given to candidates whose complete applications, including reference letters submitted directly by referees, are received by 11:59 p.m., Sunday, 27 January 2013.

Source: H-ArtHist

The ICMA Graduate Student Essay Award

NEWS: The ICMA Graduate Student Essay Award (2012).

The International Center of Medieval Art (ICMA) wishes to announce an annual Graduate Student Essay Award which will be made to the best essay by a student member of the ICMA. The theme or subject of the essay is open to any aspect of medieval art, and can be drawn from current research. The work must be original and should not have been published elsewhere.

Applicants are requested to submit an article-length paper (maximum 30 pages, not including footnotes) following the editorial guidelines of our journal Gesta. Each submission is also to include a 250-word abstract written in English regardless of the language of the rest of the paper.

Applicants are also required to submit their curriculum vitae and must be a current member of the ICMA for their essay to be considered. All submissions are to be sent electronically to the Administrator of the ICMA, Danielle Oteri. The winning essay will be chosen by the ICMA Grants and Awards Committee, chaired by our Vice-President, Nancy Sevcenko.

The award consists of a $250 prize. The winner will be given the opportunity to have the paper posted on the ICMA website, but willingness to do so is not a requirement for submission, nor among the selection criteria.

The deadline for submission is 15 February 2012 and the winner will be announced at the ICMA meeting in Kalamazoo in May (2012).

Lectures du manuscrit médiéval

CONFERENCE: Lectures du manuscrit médiéval. Du lecteur médiéval au chercheur moderne, Journée d’études, Université de Toulouse II-Le Mirail (Maison de la Recherche salle D31), 13 janvier 2012.

Journée d’études annuelle des historiens de l’art médiévistes de l’Université de Toulouse II organisée avec le soutien de Terrae (TRACES-FRAMESPA) et du département d’histoire de l’Art et Archéologie de l’UTM. Coordination: Nelly Pousthomis, Professeur & Emilie Nadal, doctorante (Université de Toulouse II-Le Mirail, UMR 5608-Traces-Terrae). Contact: emilienadal@yahoo.fr

L’objectif de cette journée sur les Lectures du manuscrit médiéval est de réunir plusieurs intervenants qui ont comme point commun d’être sans cesse confrontés, dans le cadre de leurs travaux, à la lecture et à l’interprétation de manuscrits médiévaux. Que ce soit dans les domaines aussi variés que l’histoire de l’art, la littérature ou l’histoire liturgique, tous se trouvent face à un matériau source, le codex médiéval, qui en dépit de sa ressemblance parfois trompeuse avec notre livre moderne, se trouve appartenir à une époque entièrement différente. Ainsi placé dans une situation anachronique, le chercheur doit déployer une méthode singulière, qui lui permette d’approcher ou du moins de ne pas se méprendre sur ce que pouvait percevoir de son côté le lecteur médiéval.

Cette journée devrait donc permettre non seulement d’aborder, au travers de divers champs de recherche, la grande richesse des manuscrits médiévaux qui seront présentés, mais aussi la façon dont leur contenu peut être interprété et compris aujourd’hui. Par ailleurs, ce sera également l’occasion d’échanger autour de la méthodologie requise pour aborder le livre médiéval, et sur les diverses approches qui permettent de réduire au mieux l’écart séparant le lecteur médiéval du chercheur moderne.


Accueil des participants et Introduction
* Patricia Stirnemann (chargée de recherche, IRHT), L’habit ne fait pas forcément l’enluminure
* Chantal Fraïsse (Conservateur, Centre d’art roman de Moissac), Le traitement des textes à Moissac aux XIe et XIIe siècles
* Guy Lobrichon (Professeur, Université d’Avignon), Un livre au-dessus de tout soupçon. Les bibles latines du Sud de la France (1050-1130 environ)

* Eric Palazzo (Professeur, CESCM de Poitiers), Livres liturgiques et activation des cinq sens
Table ronde animée par Florence Bouchet (Professeur, Université de Toulouse II-Le Mirail).

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Medieval Manuscript Studies in the Digital Age

COURSE: Medieval Manuscript Studies in the Digital Age (MMSDA), Cambridge and London, 23 – 27 April 2012.

The Institute of English Studies (London) is pleased to announce the fourth year of ‘Medieval Manuscript Studies in the Digital Age’, an intensive course for PhD students jointly funded by COST and the AHRC, and run in collaboration with King’s College London, the Warburg Institute, and the University of Cambridge.

The course is open to arts and humanities doctoral students registered at institutions in any of the thirty-six COST countries. It involves five days of intensive training on the analysis, description and editing of medieval manuscripts in the digital age to be held jointly in Cambridge and London. Participants will receive a solid theoretical foundation and hands-on experience in cataloguing and editing manuscripts for both print and digital formats.

The first half of the course involves morning classes and then visits to libraries in Cambridge and London in the afternoons. Participants will view original manuscripts and gain practical experience in applying the morning’s themes to concrete examples. In the second half we will address the cataloguing and description of manuscripts in a digital format with particular emphasis on the Text Encoding Initiative (TEI). These sessions will also combine theoretical principles and practical experience and include supervised work on computers.

The course is free of charge but is open only to doctoral students registered at institutions in COST countries. It is aimed at those writing dissertations which relate to medieval manuscripts, especially those on literature, art and history. Some bursaries will be available for travel and accommodation, courtesy of COST, to be assigned based on an even distribution of nationality and gender. Places on the course are limited to twenty. Applications close on 13 January 2012 but early registration is strongly recommended.

Please note that the course is now open to PhD students from any COST country (essentially Europe and Israel), and includes bursaries for travel and accommodation.

Deadline: 13 January 2012.

Further details

Medium Ævum

Medium Ævum. Society for the Study of Medieval Languages and Literature.

The Society exists to support and promote research into the cultures and intellectual life of the medieval world. At this website, you can learn about the Society’s activities and publications, including its journal, Medium Ævum.

Click here to learn more

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

Usage of Models in Medieval Book Illumination

CALL FOR PAPERS: The Usage of Models in Medieval Book Illumination (Ninth to Fifteenth Century), 47th International Congress on Medieval Studies, Kalamazoo (Michigan, USA), 10-13 May 2012.

It is well-known and nevertheless fascinating that the production of Art in Medieval Times was based on the use of models, even in cases where origin and copy were executed in very distant times. The range of relations between original and copy varies between being the result of a very close or even a direct copy to a more selected use of the original model similar to citations. Due to conditions of Art production this phenomenon refers in particular to mobile objects like illuminated manuscripts.

A lot of manuscripts have been studied extensively and have been systematically arranged in groups according to analog characteristics of composition, stile and iconography, for example the Commentaries on the Apocalypse of Beatus of Liébana, the Codices picturati of the “Sachsenspiegel” or the Psalters of the so called “Thüringisch-sächsische Malerschule”. Nevertheless, the reasons for copying illuminated manuscripts composed sometimes centuries before in an almost unaltered way are not always clear. Even the criteria for choosing one model over another more modern one are scarcely studied.

The session focuses on theoretical approaches dealing with medieval concepts of imitation and copying as well as on aspects of Art-production referring to the criteria of selection of certain exempla for iconography, style or the internal structure in miniatures.

The above issue could be raised not only in terms of artistic handicrafts, politics and culture dealing with the organization of workshops and the existence of cultural networks, or with the authority and the status of donators and Scriptoria. In addition, the focus will be on whether the decision for certain models depended on diachronic factors like hagiography and the need for composition structures to create new picture cycles. Did artists use models of book illumination in other Art genres like wall painting, too, for the only reason that they were easier available? It could be questioned if models were used with the intention of being recognizable by the commissioner and/or the viewer.

All these aspects are circling around the issue whether the function of miniatures and the underlying text remained the same during the course of time. The aim of this session is to contribute to the discussion which factors and pictorial strategies were involved in the constitution and alteration of Canons of Art in Medieval Times.

Please send your abstract of no more than 300 words to Monika Müller, Herzog August Bibliothek Wolfenbüttel: mueller@hab.de

For further information about the conference including travel grants, please visit the website

Deadline: 15 September 2011.

Source: H-ArtHist

Illuminating French and Flemish Fashion

EXHIBITION: Illuminating Fashion: Dress in the Art of Medieval France and the Netherlands, The Morgan Library & Museum (225 Madison Avenue, New York, NY 10016), 20 May – 4 September 2011. Catalogue by ANNE H. VAN BUREN with the assistance of ROGER S. WIECK.

This exhibition will explore the evolution of fashionable clothing in Northern Europe—from the fashion revolution of the early fourteenth century to the dawn of the Renaissance. Drawn from the Morgan’s collections, over fifty illuminated medieval and Renaissance manuscripts and early printed books are featured.

The nearly 200 years just prior to the Renaissance in Northern Europe constituted a fertile era for fashion, a period in which clothing styles changed rapidly, often from one decade to the next. The exhibition examines the role of social customs, cultural influences, and politics—such as the Hundred Years’ War, the occupation of Paris by the English, and the arrival of the Italian Renaissance—in shaping fashion.

The exhibition also demonstrates the richness of symbolism in medieval art and how artists used clothing and costume as codes to help viewers interpret an image. In these works of art, what people wear is a clue to their identities and moral characters.

To dramatize these fashions, four recreated ensembles replicating clothing depicted in the exhibition will be on view. The garments were made using period hand-sewing techniques and authentic materials—including silk velvet, gold brocade, linen, straw, and ermine.

Read more

Re-inventing Traditions in Manuscripts

CALL FOR PAPERS: Re-inventing traditions on the transmission of artistic patterns in illuminated manuscripts of the Late Middle Ages in terms of art history, restoration and palaeography, Institute of Art History of the Freie Universität Berlin and the Gemäldegalerie Berlin, 8-10 June 2012.

The transmission of artistic patterns was a key practice in medieval manuscript illumination. Despite a changing and differentiated process of production the constant recourse on older works of art, the copying and variation as well as the innovative adaptation of artistic patterns shaped the methods of work of medieval illuminators and writers.

The art historical research on the development of pictorial practice uses this particular technique to define artistic developments, regional particularities and even artistic biographies and still, even the most elaborate examples never liberate themselves entirely from the tradition of illustration and decoration of certain types of manuscripts. They usually follow a defined selection of patterns – also depending on the type of book illustrated – and thus even the masterpiece has to be seen in the context of its pictorial tradition.

The colloquium Re-inventing traditions is dedicated to a systematic approach to the problems of the transmission of artistic patterns as a key field in the study of medieval manuscript illumination. It is not just concerned with the reutilisation and diffusion of patterns, and beyond that the process of appropriation itself needs to be investigated. Young scholars are invited to submit proposals on their own approaches to this wide research field. The topics listed below merely serve as reference points for possible submissions.

In addition to an art historical approach, we encourage scholars to submit proposals that deal with the scientific analysis of illuminated manuscripts. Questions on dating, technical particularities and thus the opportunity to define related groups of works or even workshops can be explored as well as the analysis of materials or underdrawings for miniatures.

The art historical emphasis of the colloquium should also be expanded by the inclusion of text critical perspectives. Therefore, we encourage scholars of relevant disciplines to submit proposals on e.g. the meaning and textual history of vernacular prayers or the intertextuality of devotional manuscripts as related to the possibility of dating and localising individual or particular groups of manuscripts.

The following points serve as suggestions for possible proposals. Interested scholars may of course submit proposals on the transmission of artistic patterns in late medieval manuscript illumination that are not listened among the following:

– Artistic itinerary: on the transmission of artistic patterns across national borders
– Decoration and layout: strategies of illustration in various types of devotional manuscripts and their relation to other media
– On the relation between royal commissions and standardised production: case studies
– Structuring regional centres: exchange and characterisation of the local production
– Continuity and the aesthetic value of the pattern: how a good idea survives and how its diffusion is reconstructable
– The development of the historiated border in the 2nd half of the 15th century in France and Flanders
– Intermediality and strategies of adaptation: exchange between panel and miniature painting
– On dating and localising artistic production outside the capitals
– Between manuscript illumination, printing and stained glass: on the historic reality of the intermediary artist
– Exchange between the illustration of secular and devotional manuscripts. Case studies on the transfer of artistic patterns
– Rediscovering antiquity: new iconographies in manuscript illumination
– Italian art in the northern Europe: the reinterpretation of motives and their reutilisation
– French and Flemish manuscript illuminations in Italy.

We ask interested scholars to submit their proposals (ca. 300 words) by the end of July 2011 to Joris C. Heyder and  Christine Seidel. You may contact us with any question concerning the colloquium and modes of submission.

Application deadline: 30 July 2011.

Source: H-ArtHist

The Masters of the Dark Eyes

KLARA H. BROEKHUIJSEN, The Masters of the Dark Eyes. Late Medieval Manuscript Painting in Holland, Turnhout 2009 (Brepols), VIII + 472 p., 141 b/w ill. + 40 colour ill., € 125,00.

This study deals with the work of the most prolific Dutch book illuminators, the so-called Masters of the Dark Eyes, named after the most conspicuous aspect of their style: the dark, heavily accentuated shadows round the eyes of the figures. With their elaborately illuminated manuscripts, these masters completely dominated book production in the County of Holland during the late fifteenth and early sixteenth centuries. Their work is characterized by an overwhelming wealth of decorative and pictorial richness, which is especially evident in the unusually ornate programmes of the Books of Hours, and a new type of border decoration derived from the Ghent-Bruges School. This style of painting was practised by many artists of differing talents, as demonstrated by the large number of surviving manuscripts. Not all of the illuminators worked in Holland. Some of them settled in the Southern Netherlands, others emigrated to England, where they illuminated manuscripts for members of the English court.

This monograph seeks to order, analyze and evaluate the work of the Masters of the Dark Eyes, and to position their achievements within the context of book illumination in the Northern Netherlands during the “Waning of the Middle Ages”. It explores a virtually uncharted territory of Dutch manuscript painting. The accompanying descriptive catalogue provides complementary information on more than 70 manuscripts, many of which have never been published at length before. The work is illustrated with a wide selection of colour and black-and-white reproductions.


Acknowledgements (pp. VII-VIII); Introduction (pp. 1-7)

I. Style (pp. 9-24):
General characteristics; The Bezborodko Group; The Marciana Group; The Croesinck Group; The Chillicothe Group; The Robinson Group; The English Group; The Southern Group

II. The Decoration Programmes (pp. 25-48):
Introduction; The book of hours; Dutch books of hours, c. 1400 – c. 1475/80; Dutch books of hours, c. 1475/80- c. 1510; Books of hours with illumination by the Masters of the Dark Eyes; Additional texts; The Prayer books; Prayer books with illumination by the Masters of the Dark Eyes; Liturgical manuscripts; Liturgical manuscripts with illumination by the Masters of the Dark Eyes; Other manuscripts with illumination by the Masters of the Dark Eyes

III. The Compositions: Tradition and Innovation (pp. 49-69):
Introduction; Models and sources of inspiration for the Masters of the Dark Eyes; Borrowings from prints; Dutch manuscript painting; Southern Netherlandish manuscript painting: Panel painting; Unusual subjects; The Zodiacal Man; The Legend of the Grateful Dead; The Legend of the Institution of the Rosary; The Holy Kinship; The Fall of the rebel Angels; The Tree of Jesse; Summary and conclusions

IV. Dating and Localization (pp. 71-77):
Introduction; Dating; Localization

Catalogue of manuscripts (pp. 79-269); Miscellaneous (pp. 271-272); Bibliography (pp. 273-284)

Indexes (pp. 285-297):
Manuscripts; Illuminators; Painters; Engravers and Scribes; Texts illuminated by Masters of the Dark Eyes

Iconographic Index (pp. 298-310); Photographic Credits (p. 311); Illustrations (pp. 313-438); and Plates (pp. 439-472).

The books has been reviewed by Marta Bigus in Kunstform, 13, 2012, n. 1 (click here).

McGill University Postdoctoral Fellowship

Subject: Transmission, Translation and Transformation in Medieval Textual Cultures. Faculty of Arts
The research group “Transmission, Translation and Transformation in Medieval Textual Cultures” (TTT), Faculty of Arts, McGill University, seeks applications for a two-year postdoctoral fellowship, starting 1 August 2009. We are a six-member interdisciplinary research team supported by the Fonds québécois de la recherche sur la société et la culture (FQRSC), and consisting in Professors Robert Wisnovsky (Islamic Studies — Principal Investigator), Jamie Fumo (English), Carlos Fraenkel (Jewish Studies/Philosophy), F. Jamil Ragep (Islamic Studies), Sebastian Sobecki (English) and Faith Wallis (History). We are looking for a scholar who has completed a doctorate in a humanistic discipline on a topic related to the processes by which the textual cultures of medieval Judaism, Christianity, and Islam re-shaped the legacies of Greco-Roman antiquity and the ancient Near East. We are particularly interested in scholars who study how cultural forms were transmitted from Antiquity to the Middle Ages or between medieval cultures, translated (literally and metaphorically) into the learned idiom of the recipient culture, and transformed into new cultural productions. The responsibilities of the postdoctoral fellow will include conducting research in his/her field of specialization, and co-teaching a graduate research seminar on Transmission, Translation and Transformation in Medieval Textual Cultures, with substantial participation from each of the current members of the group and colleagues from McGill and other Montreal universities. The postdoctoral fellow will be given a stipend of C$38,000 pa, and provided with the use of a shared office and a research/travel fund of C$2,000 pa.  Application deadline: 12 December 2008.

Please send a CV, a letter detailing your doctoral work and future research plans, a sample chapter from your dissertation, and two letters of reference (one of which must be from your doctoral supervisor), to Professor R Wisnovsky, Principal Investigator, TTT Research Group, Institute of Islamic Studies-McGill University, 3485 McTavish Street, Montreal, Quebec, H3A 1Y1, Canada. Informal inquiries may be directed to Prof. Robert Wisnovsky.