Archives de catégorie : Appels à communication

Appel à publication : Rutgers Art Review Volume 35

Type : Appel à publication

Date limite : 15 septembre 2017

Call for Papers and Digital Projects

Rutgers Art Review, a journal of graduate research in art history, hereby invites all current graduate students, as well as professionals who have completed their doctoral degree within the past year, to submit papers for its 35th edition.

Papers may address the full range of topics and historical periods within the history of art and architecture, visual and material culture, art theory and criticism, aesthetics, film, and photography. Continuer la lecture

Appel à communication : Visual Skepticism: How Images Doubt

Jean-Baptiste Siméon Chardin, La Raie, 1728, huile sur toie, 114 x 146 cm, Paris, musée du Louvre.

Type : Appel à communication

Date limite de l’appel : 30 septembre 2017

Date de l’événement : 11 – 12 décembre 2017

Lieu : Hambourg, Kunstgeschichtliches Seminar and Maimonides Centre for Advanced Studies, Universität Hamburg

Today, images as media of knowledge production play a more prominent role than ever before. But this flood of images, e.g. in the new media, makes them seem problematic in relation to this function. Increasingly important in the situation is the question of how images are to problematize their own status as media of knowledge production – to exhibit this status on the one hand, and to call it into question on the other. Continuer la lecture

Appel à publication : Revue Sculptures, No. 5: Voir la sculpture

Louis-Simon Boizot, Méléagre, 1771, 80 x 38 x 53 cm, Paris, musée du Louvre

Type : Appel à publication

Date limite de l’appel : 30 octobre 2017

Appel à contributions pour la partie thématique du numéro 5 (2018) de la revue Sculptures : Voir la sculpture, dirigée par Claire Barbillon

« On éprouve un bien vif plaisir quand on voit un grand ouvrage de sculpture, largement et simplement exécuté. Quand on a bien joui de l’ensemble, on cherche, en se rapprochant, à voir des détails […] c’est pour ainsi dire un voile qu’on lève. Les variations du jour mettent en évidence les détails qui, quelques heures avant, étaient invisibles », écrit David d’Angers. Cette révélation progressive de la sculpture à son regardeur, cette introduction du temps dans l’expérience de la perception de la sculpture sont des enjeux fondamentaux de la modernité qui ont été mis en valeur par nombre d’historiens et de théoriciens de l’art au cours du dernier siècle (Hildebrand, Simmel, Giedion-Welcker, Wittkower, Jauss, Kraus, Potts, parmi d’autres). Continuer la lecture

Appel à communication : session at CAA (Los Angeles, 21-24 Feb 18)

evert Collier, Trompe l’oeil , 1699, huile sur toile, Londres, Victoria and Albert Museum.

Type : appel à communication

Date limite de l’appel : 14 août 2017

Date de l’événement : 21 – 24 février 2018

Lieu : Los Angeles

Eccentric Images in the Early Modern World

Trompe l’oeil paintings, anamorphic portraits, anthropomorphic landscapes, pictorial stones, reversible heads, and composite figures are doubly eccentric. Often dismissed as curiosities and aberrations, they have been marginalized and de-centered within art history. Continuer la lecture

Appels à communication : 4 sessions at CAA (Los Angeles, 21-24 Feb 18)

Jean-Baptiste Lesueur, La plantation d’un arbre de la liberté en 1790.

Type : 4 Appels à communication

Date de l’événement : 21 – 24 février 2018

Lieu : Los Angeles

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

Appel à communication : sessions at CAA (Los Angeles, 21-24 Feb 18)


Jacon van Loo, Compagnie faisant de la musique, 1640 – 1670

Type : 3 Appels à  communication

Date limite de l’appel : 14 août 2017

Date de la manifestation : 21 – 24 février 2018

Lieu : Los Angeles

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

Appel à publication : Cartographic Styles and Discourse

Georges Boissaye du bocage, Le grand blanc de terre Neuve, 1771, 96 x 64,5 cm, Paris, bibliothèque nationale de France.

Type : Appel à publication

Date limite ; 22 septembre 2017

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

Appel à communication : « Printing Colour, 1700–1830 : Discoveries, Rediscoveries, and Innovations ».


Type : Appel à communication.
Date limite de l’appel : 1er octobre 2017.
Date de l’événement : 10-11 avril 2018.
Lieu : Londres, Senate House. 

Eighteenth-century book and print cultures are considered to be black and white (with a little red). Colour-printed material, like William Blake’s visionary books and French decorative art, is considered rare and exceptional. However, recent discoveries in archives, libraries and museums are revealing that bright inks were not extraordinary. Artistic and commercial possibilities were transformed between rapid technical advances around 1700 (when Johannes Teyler and Jacob Christoff Le Blon invented new colour printing techniques) and 1830 (when the Industrial Revolution mechanised printing and chromolithography was patented). These innovations added commercial value and didactic meaning to material including advertising, books, brocade paper, cartography, decorative art, fashion, fine art, illustrations, medicine, trade cards, scientific imagery, texts, textiles and wallpaper.

The saturation of some markets with colour may have contributed to the conclusion that only black-and-white was suitable for fine books and artistic prints. As a result, this printed colour has been traditionally recorded only for well-known ‘rarities’. The rest remains largely invisible to scholarship. Thus, some producers are known as elite ‘artists’ in one field but prolific ‘mere illustrators’ in another, and antecedents of celebrated ‘experiments’ and ‘inventions’ are rarely acknowledged. When these artworks, books, domestic objects and ephemera are considered together, alongside the materials and techniques that enabled their production, the implications overturn assumptions from the historical humanities to conservation science. A new, interdisciplinary approach is now required. Continuer la lecture

Appel à communication : Transition(s): concept, methods and case studies (Liege, 30-31 Jan 18)

Justus Sustermans, Portrait de Galilée, 1636, huile sur toile, Londres, Greenwich, National Maritime Museum.

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.

From the Middle Ages until the upheavals brought about by Galilean science, Europe underwent a period of unceasing questioning which challenged the political balance and its legitimacy, shook the foundations of confessional unity, and expanded the limits of knowledge and of creation. In an attempt to transcend the inherited divisions of the long historiographical tradition, the Research Unit Transitions. Continuer la lecture

Appel à communication : Collaboration in 17th-century France (Princeton, 10-12 May 2018)

Nicolas de Largillière, Portrait de Charles de Sainte-Maure, duc de Montausier, XVIIe siècle, huile sur toile, 132 x 96,5 cm, Chambord, Château de Chambord.

Type : Appel à communication

Date limite de l’appel : 1er septembre 2017

Date de l’événement : 10 – 12 mai 2018

Lieu : USA, Princeton

XVe Colloque du CIR 17 – Centre International de Rencontres sur le XVIIe siècle ( 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 » ?

Les intervenants pourront analyser des œuvres spécifiques ou bien tenter des synthèses sur les normes et usages propres à certains milieux ou institutions : « salons », cercles érudits, académies royales, communautés religieuses, etc. Les communications qui constituent elles-mêmes des collaborations entre plusieurs chercheurs ou qui présentent des travaux d’équipe seront particulièrement les bienvenues. Continuer la lecture

Appel à communication : Holy children/Liminal bodies (Munich, 30 Nov-1 Dec 17)

Eustache Le Sueur, Agar et l’Ange secourus par l’Ange, 1625 – 1650, huile sur toile, 158 x 114 cm, Rennes, musée des Beaux-Arts.

Type : appel à communication

Date limite de l’appel : 20 juillet 2017

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

Appel à communication : Contested forms (Munich, 2-3 Nov 17)

Eustache Le Sueur, La Prédication de Saint Paul, 1649, huile sur toile, 394 x 328 cm, Paris, musée du Louvre.

Type : Appel à communication

Date limite de l’appel : 20 juillet 2017

Date de l’événement : 2-3 novembre 2017

Lieu : Munich

Contested forms

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

Appel à communication : « Une maison, un palais : approches des architectures domestiques et résidentielles ».

Anonyme, Vue de palais de l’Escorial, XVIIe siècle, toile, 189 x 241 cm, Paris, musée du Louvre.

Journée d’études doctorales : « Une maison, un palais : approches des architectures domestiques et résidentielles ».

Organisée par : Antoine Lacaille et Laurent Cathiard (Université Paris 1 Panthéon-Sorbonne, HiCSA/ED441, école de Chaillot).

Sous la responsabilité : Jean-Philippe Garric (Professeur, Université Paris 1 Panthéon-Sorbonne, HiCSA), Philippe Plagnieux (Professeur, Université Paris 1 Panthéon-Sorbonne, HiCSA).

Institutions partenaires : HiCSA (Équipe d’accueil 4100, Histoire culturelle et sociale de l’art, Université Paris 1 Panthéon-Sorbonne) et Cité de l’Architecture et du Patrimoine.

Date : Jeudi 7 décembre 2017. Lieu : INHA – Galerie Colbert (salle Vasari) – 2 rue Vivienne / 6 rue des Petits-Champs, 75002 Paris.

Date limite d’envoi : 7 juillet 2017.

Dans la continuité des journées doctorales en histoire de l’architecture organisées par l’HiCSA à l’automne 2015 et à l’automne 2016 et consacrées respectivement au renouveau des recherches sur la période 1770- 1830 et à la notion de modèle en architecture, cette manifestation scientifique réservée aux jeunes chercheurs se propose de rendre compte de la diversité des approches de l’architecture domestique et résidentielle, du Moyen Âge à nos jours.

Ce domaine de la production des espaces bâtis et de la théorie de l’architecture est marqué par de fortes spécificités qui orientent les études historiques, comme les démarches patrimoniales le concernant. La distribution des espaces domestiques et leurs expressions formelles en conséquence sont déterminées par des valeurs d’usage et des pratiques sociales justifiant des emprunts nombreux à la sociologie ou à l’anthropologie historiques. Parfois hybride, la fonction d’habitation associée à une seconde destination, dans un environnement urbain ou rural, soulève des problématiques propres, en rapport avec le cadre urbanistique et socio-économique. Continuer la lecture

Appel à communication : Artists` festivities. From the present day to the very beginnings (Irsee, 23-25 Mar 18)

Roeland van Laer, Les Bentvueghels dans une auberge romaine, 1626 – 1628, huile sur toile, 88,5 x 147,5 cm, Rome, museo di Roma – Palazzo Braschi.

Type : Appel à communication

Date limite de l’appel : 15 août 2017

Date de l’événement : 23 – 25 mars 2018

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 conference on “Künstlerfeste/Artist´s festivals” deals with numerous varieties of diverse assemblages of visual artists, builders, architects, but also musicians and literati. The purpose is to discuss textual and especially illustrated testimonies of the various festivities, based on case studies. In order to show the longue durée of the development and to discover the culture historical crosslinks, we deliberately did not set any topographic or chronologic restriction. Continuer la lecture

Appel à communication : The Dutch Golden Age (Geneva, 31 May-2 Jun 18)

Arnold Houbraken, Diane et Callisto, XVIIe siècle, huile sur toile, 45 x 58 cm, marché de l’art.

Type : Appel à communication

Date limite de l’appel : 1er octobre 2017

Date de l’événement : 31 mai – 2 juin 2018

Lieu : Genève

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