Archives par étiquette : Gand

Appel à communication : Vanitas. Reconsideration of a pictorial concept

Philippe de Champaigne, Vanitas, vers 1671, huile sur toile, 28 x 37 cm, Le Mans, musée Tessé.

Type : Appel à communication

Date limite de l’appel : 30 juin 2017

Date de l’événement : 24 – 26 mai 2018

Lieu : Belgique, Gand

Vanitas. Reconsideration of a pictorial concept

ANKK-sponsored Session

One of the most controversial pictorial concepts within the methodological debate of Netherlandish art history certainly was (and still is) the concept of the Vanitas of the mundane world. It has become quite common to view and subsume Dutch still life painting under the aspect of transience and to claim that those works include a moralizing message: The depicted objects – may it be the skull or hourglass, overturned glasses, wilted flowers, money, jewelry or instruments (used either in daily life or in art and science) – have been interpreted by art historical scholarship in rather generalizing terms as symbols of the vanity and impermanence of human life. Besides this rather cultural pessimistic interpretation there are additional readings of still life painting – for example a more sensualistic approach emphasizing the cognitive power of sense perception; or a social-historic position that links the genre to seventeenth-century European economic expansion by accentuating the importance of goods as a means to establish identity. Continuer la lecture

Appel à communication : Historians of Netherlandish Art Conference

Jean-Baptiste-Siméon Chardin, Nature morte, vers 1728, huile sur toile, Karlsruhe, Staatliche Kunsthalle.

Type : Appel à communication

Date limite de l’appel : 15 mai 2017

Date de l’événement : 24 – 26 mai 2018

Lieu : Gand

Calls for papers: [1] Bruegel’s Politics, [2] Utensils in Art: The Object as an Artist’s Model and the Domestic Utensil as Decorative Arts

[1] Bruegel’s Politics

Among the most unforgettable lines from Karel van Mander’s biography of Pieter Bruegel the Elder are those that concern the artist’s final hours. Bruegel, on his deathbed, asked his wife to burn some of his works “either because he was sorry or because he was afraid that on their account, she would get into trouble or might have to answer for them.” The implication that Bruegel produced a body of images of a polemic if not overtly political nature has long haunted scholarship on the artist. Continuer la lecture

appel à communication : Divine Presence: Representing Angels and God in Dutch and Flemish Art

Ferdinand Bol, Abraham Entertaining the Three Angels, 1660 – 1663, oil on canvas, 404 x 282,5 cm, Amsterdam, Rijksmuseum.

Type : Appel à communication

Date limite de l’appel : 15 mai 2017

Date de la manifestation : 24 – 28 mai 2018

Lieu : Gand et Bruges

Quadrennial conference of the Historians of Netherlandish Art

Divine Presence: Representing Angels and God in Dutch and Flemish Art
Session chairs: Larry Silver, University of Pennsylvania, Joanna Sheers Seidenstein, The Frick Collection

Accompanying the Counter Reformation and Protestant confession-building in Europe in the later sixteenth and seventeenth centuries were new, disparate priorities for representing the divine. Underpinning Catholic and Protestant imagery in these years was an increasingly divergent attitude toward the sensory. Episodes of iconoclasm and a broader distrust of the visual on one side were met with explicit calls by the other side for art and ritual that would employ the sensual, even the seductive, as a means to inspire devotion. Continuer la lecture

Journée d’étude : Catalysts of knowledge. Early modern cultures of collecting.

Cornelis de Baellieur, Intérieur d'une galerie de tableaux et d'objets d'art, 1637, huile sur bois, 93 x 123 cm, Paris, musée du Louvre.

Cornelis de Baellieur, Intérieur d’une galerie de tableaux et d’objets d’art, 1637, huile sur bois, 93 x 123 cm, Paris, musée du Louvre.

Type : journée d’étude.
Date : mardi 15 décembre 2015.
Lieu : université de Gand, Belgique.

This one-day workshop on early modern cultures of collecting aims to bring together approaches from the domains of art history, the history of science, and material culture studies. Of particular interest are the processes through which collected objects became sources of artisanal, artistic, or scientific knowledge and innovation. Users and beholders of collections were invited to observe, investigate, depict, and question individual objects and their interrelationships, and as such, collections could become ‘catalysts of knowledge’.

Workshop is free of charge, but places are limited, so please register online at : http://www.kunstwetenschappen.ugent.be/catalystsofknowledge

Programme :

10.00-12.15
Session 1: Collecting in the Southern Netherlands
Session chair: Koenraad Jonckheere

Marlise Rijks
The epistemology of collecting. Artists’ and artisans’ collections in
seventeenth-century Antwerp.

Nadia Baadj
Early Modern Cabinets as Catalysts of Knowledge.

Jan Muylle
The Furniture of Count Anthony of Arenberg (Brussels, 1617).

12.15-13.45
Lunch

13.45-15.05
Session 2: Noble and bourgeois collectors
Session chair: Christine Göttler

Nuno Senos
Science and Empire in the collection of the Duke of Bragança.

Renata Ago
Bourgeois collectors and their supporters (Rome, XVII century).

15.05-15.45
Coffee / Tea

15.45-17.05
Session 3: The global world
Session chair: Sven Dupré

Claudia Swan
Rariteyten and other specimens: VOC goods, liefhebbers, and Dutch
collections 1600-1650.

Christine Göttler
A Javanese Dagger in a constcamer painting by Frans Francken the
Younger: Collecting Idols and Weapons in the Seventeenth-Century
Netherlands.

17.05-17.45
Concluding remarks.
Wijnand Mijnhardt