106th College Art Association Annual Conference, Los Angeles, February, 21 – 24, 2018
1. Historicizing Loss in Early Modern Europe
Submission Deadline: August 14, 2017
Chair: Julia Vazquez, Columbia University
The history of art and architecture in Baroque Madrid is bookended by two major events: the fire that burned down the Pardo Palace in 1604 and the fire that burned down the Alcázar Palace in 1734. Resulting in the loss of dozens of paintings by Titian, Antonis Mor, and Velázquez, in addition to the buildings themselves, these events represented unprecedented moments of loss to the historical record of this period. Continuer la lecture de Appels à communication : 4 sessions at CAA (Los Angeles, 21-24 Feb 18)
106th College Art Association Annual Conference Los Angeles, February, 21 – 24, 2018
1. Travel, Diplomacy, and Networks of Global Exchange in the Early Modern Period.
Early modern artists were known to travel alongside ambassadors on diplomatic missions, in accompaniment of explorers, or as entrepreneurial merchants on solo expeditions. Works of art likewise toured en route with artists, were produced amid voyages, or at times illustrated the arrival of foreigners in new lands. This panel seeks to explore the role visual culture played vis-à-vis travel, trade, diplomacy, and transcultural encounters in the early modern period. In what ways did the movement of artists contribute to the construction of aesthetic hybridism and early cosmopolitanism? If art forms such as Japanese Namban screens and Ottoman costume albums divulge a cultural encounter, do they presuppose a burgeoning “global public”? Taking into account that global art history is not, to use the words of Thomas DaCosta Kaufmann, “the reverse side of Western art history,” but instead contrary to national art and its incumbent limitations, this panel seeks contributions from scholars interested in a horizontal approach to artistic exchange where emphasis is placed on the interconnectedness of visual cultures, styles, and techniques. Continuer la lecture de Appel à communication : sessions at CAA (Los Angeles, 21-24 Feb 18)
This is a call for proposals to be considered in the constitution of a thematic issue of Artl@s Bulletin which will explore the intersection of art and cartography in a range of historical and geographic contexts. Centuries-old representations of land from around the globe are known for their conceptual characteristics, such as indigenous American, medieval Mediterranean, and Chinese silk maps whose ‘world views’ are often clearly rooted instead in their unique social perspectives. Art and cartography again come together in modern maps that consciously reject the empiricism of enlightenment-era cartography in favor of culturally-meaningful aesthetics. In some contemporary maps, the particular way that ideas and information become visualized, including through the use of unconventional materials or new technologies, arguably shapes their outcomes just as much or more than any physical territory. Continuer la lecture de Appel à publication : Cartographic Styles and Discourse
While cultural historians have recently published a number of studies on letters and letter-writing in Early Modern Europe, the subject has not been sufficiently explored from an art historical perspective.
Though some texts on Early Modern private life offer insight on the prominence of the theme in art, a more exhaustive analysis is in order, especially since letters and letter-writing are depicted in art in other contexts besides the domestic realm. Indeed Early Modern epistolary discourse falls into both private and public categories. In the private sector, the Early Modern period saw a significant increase in literacy, especially among women, mainly due to the development of the printing press and the subsequent proliferation of texts. Women no longer dictated their letters to others, but wrote them themselves. As letter-writers, they could now take on intimate roles, such as that of mothers, lovers, or travelers, without the intrusion of a writing assistant. In the public sector, members of the papal curia exchanged letters to publicize new statutes, while spiritual leaders in general often corresponded to offer religious instruction and guidance. Continuer la lecture de Appel à communication : Epistolary Discourse: Letters and Letter-Writing in Early Modern Art
Lieu : State Music Room, Stowe House, Buckingham, MK18 5EH
Bringing together world-leading academics, art-historians, and contemporary artists, The Courtauld Institute of Art and Aganippe Arts present a day-long symposium held at Stowe House to open the exhibition The Garden at War. The collaborative event aims to provide a forum for exploring issues and ideas raised by the exhibition on the development and relevance of Stowe and its history of neoclassicism. The primary strand of inquiry which informs the symposium concerns the use of the gardens at Stowe as a collaborative art-form. Looking at Stowe in this manner it is possible to read its design through a number of different frameworks; from the influence of the classical world, to the work of conceptual artists like Ian Hamilton Finlay, to the French landscape paintings of Nicolas Poussin and Claude Lorrain. Continuer la lecture de CONF: The Garden at War: Deception, Craft and Reason (Buckingham, 8 Jul 17)
Type : Appel à communication Date limite de l’appel : 15 septembre 2017 Date de l’événement : 30 – 31 janvier 2018 Lieu : Liège
International PhD Students’ Meetings. PART 1 : “Transition(s): concept, methods and case studies (14th-17th centuries)”, Liège, 30th and 31st January 2018
The Research Unit Transitions. Middle Ages and Early Modern Period (University of Liège) associated with the research laboratory TRAME (Texts, Representations, Archaeology and Memory from Antiquity to the
Renaissance) of the University of Picardie Jules Verne and with the Centre for Advanced Studies in the Renaissance of the University François Rabelais (Tours) on the occasion of International PhD Students’ Meetings in three parts. Implemented by PhD students of these three institutions, the aim of the meetings is to enable exchange and discussion between PhD students, junior researchers and skilled colleagues. The first of these three meetings will be held in Liège on Tuesday January 30th and Wednesday January 31st, 2018.
XVe Colloque du CIR 17 – Centre International de Rencontres sur le XVIIe siècle (http://www.cir17.info). Princeton University (USA), 10-12 mai 2018
Créer à plusieurs ? Collaborations littéraires, artistiques et scientifiques au Grand Siècle
Ce colloque pluridisciplinaire se propose d’examiner la place des pratiques collaboratives dans la culture française du XVIIe siècle.
Alors que se renforce la monarchie absolue, incarnée par un souverain unique, il règne dans le domaine des arts et des lettres un esprit (ou impératif) de collaboration d’où résultent de nombreuses œuvres plus ou moins collectives. Il s’agira d’étudier ces productions sous tous leurs aspects (genèse et réception, formes et idées, style et sens), d’interroger leur réussite ou échec, et de les situer par rapport aux ouvrages plus « solitaires ». Pourquoi écrire à quatre mains, voire plus ? Comment peut-on travailler en commun avec son frère ou son maître, un compositeur ou un graveur ? La Bruyère avait-il raison d’écrire : « L’on n’a guère vu jusques à présent un chef-d’œuvre d’esprit qui soit l’ouvrage de plusieurs » ?
Date de l’événement : 30 novembre – 1er décembre 2017
Lieu : Munich
Holy children/Liminal bodies. The status and materiality of infancy in early modern visual culture
(International workshop supported by SACRIMA – The Normativity of Sacred Images in Early Modern Europe @ LMU Munich, 30 November-1 December)
Whether as chubby cherubs, playful toddlers or suffering infants, children have pervaded our visual cultures since antiquity. Instilled with intrinsic emotional connotations and a distinctive aesthetic ambiguity, images of children possess diachronic, transcultural and anthropological relevance. However, Christianity’s attachment to a divine child has catalyzed the reception and visual dissemination of images of children in various forms (little angels, Infants Jesus and St John the Baptist, the Holy Innocents, child saints etc.).
How did Christian visual cultures appropriate and transmute images of children, and how did they transmit and/or impose them to other cultures? How have images of children, putti and holy infants migrated in time and in space? What are the aesthetic values, the emotional effects and the cultural significance of these ubiquitous images? While social historians have explored the changes in status and perception of childhood during the early modern period, an extensive exploration of the visual relevance of this theme in sacred imagery has yet has yet to emerge from art historical studies. Taking the seminal studies by Leo Steinberg on the sexuality of Christ and by Charles Dempsey on the putto as fundamental points of departure, this workshop seeks to explore the visualization and materiality of infancy in early modern sacred art in different medias and from a cross-cultural perspective. Continuer la lecture de Appel à communication : Holy children/Liminal bodies (Munich, 30 Nov-1 Dec 17)
The limits of the sacred image and the normative power of art in early modern Europe
(International conference supported by SACRIMA – The Normativity of Sacred Images in Early Modern Europe @ LMU Munich, November 2-3, 2017)
The ERC-funded project SACRIMA, The Normativity of Sacred Images in Early Modern Europe, at the Institute for Art History of the LMU Munich invites papers that look afresh at the relations between art, image, cult and law, focusing in particular on the normativity of images, the limits of the sacred image and the normative power of art in Catholic Europe between 1450 and 1650.
Recent investigations of the early modern sacred image have focused on notions of censorship and iconoclasm, ‘controversy’ and the ‘reform of art’. Less attention has been devoted to the ‘normativity’ of images, a notion that we suggest to consider in a double sense: on the one hand, the norms for images elaborated by external and often competing agencies (namely, image theoreticians, the various Inquisitions, episcopal and political authorities etc.); on the other, the visual traditions and norms created, adapted or suggested by artists, during the various stages of conceptualization and finalization of their works. Continuer la lecture de Appel à communication : Contested forms (Munich, 2-3 Nov 17)
Lieu : Bonn, Kunsthistorischen Forums Irsee Schwabenakademie Irsee
6th Spring Academy of the Irsee Art History Forum Schwaben Academy at Irsee (Germany), 23 – 25 March 2018 Artists` festivities. From the present day to the very beginnings.
According to Walter Gropius the best way to deal with problems is to have a party. According to his wife Ilse he described the Bauhaus’
festivities as ‘catharsis’ – without the purifying impact of a boisterous party, similar to a tempestuous thunderstorm, the triad of work, life and art in the community of varied, maladjusted and individual artist would have been very difficult.
The Dutch Golden Age: a new aurea ætas? The revival of a myth in the seventeenth-century Republic
In 1719, the painter Arnold Houbraken voiced his regret about the end of the prosperity that had reigned in the Dutch Republic around the middle of the seventeenth century. He indicates this period as especially favorable to artists and speaks of a ‘golden age for art’
(Gulde Eeuw voor de Konst). But what exactly was Houbraken talking about? The word eeuw is ambiguous: it could refer to the length of a century as well as to an undetermined period, relatively long and historically undefined. In fact, since the sixteenth century, the expression gulde(n) eeuw or goude(n) eeuw referred to two separate realities as they can be distinguished today: the ‘golden century’, that is to say a period that is part of history; and the ‘golden age’, a mythical epoch under the reign of Saturn, during which men and women lived like gods, were loved by them, and enjoyed peace and happiness and harmony with nature. Continuer la lecture de Appel à communication : The Dutch Golden Age (Geneva, 31 May-2 Jun 18)
The contested concept of “reproduction” stands at a critical nexus of the conceptualisation of Early Modern artistic thought. The early modern period has been characterised by the development of novel and efficient reproduction technologies, as well as the emergence of global empires, growing interconnectedness through trade, warfare and conquest, and the rise of new markets and cultures of collecting. This ethos of innovation and cultural exchange was, however, contextualised against myriad contemporary ideologies still rooted in the values and legends of narratives of the past. Reproduction stood at the centre of this dichotomy. Set against the context of changing cultural tastes and the increasingly overlapping public and private spheres, ‘reproductions’ were involved within changing viewing practices, artistic pedagogy, acts of homage and collecting. Continuer la lecture de Appel à communication : Recasting Reproduction (1500-1800) (London, 18 Nov 17)
Call for Papers: Graduate Student Sessions Graphic Mimicry: Intermediality in Print and the Art of Imitation (Print Think 2017) Tyler School of Art, Temple University Oct. 21-22, 2017
Print Think 2017 is co-organized by Amze Emmons and Ashley West, bringing Tyler School of Art’s Art History Department in collaboration with our Printmaking program. This year’s conference, titled Graphic
Mimicry: Intermediality in Print and the Art of Imitation, will examine the intervisual dialogue between prints and other media from both a historical and contemporary perspective of the medium. At the heart of this year’s conference is the fundamental question of how printmaking from its earliest years defined itself in relationship to existing and historically more prominent technologies and media, such as drawing, painting, metalwork, sculpture, and tapestry design. Continuer la lecture de Appel à communication : Graphic Mimicry (Philadelphia, 21-22 Oct 17)