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)
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
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)