CFP: New Horizons in French Porcelain, 1690-2000, 20-21 October 2017, The Wallace Collection, London

The French Porcelain Society is pleased to announce this year’s two-day symposium, entitled: ‘Saint-Cloud to Bernardaud: New Horizons in French Porcelain, 1690–2000’.

It will be chaired by Dr Aileen Dawson, former Curator, The British Museum, London, and will take place on 20–21 October 2017 at The Wallace Collection, London.

Deadline to send a proposal: Jun 15, 2017

The symposium will present new research on French porcelain factories outside royal or state control. At times unjustly neglected in favour of the royal manufactory at Sèvres, these earliest factories operated from the late seventeenth century; many continue in production today. They include, but are not limited, to Saint–Cloud, Villeroy, Mennecy, Niderviller, the Paris factories, such as Dihl, Schoelcher and Dagoty,
and Limoges factories operating during the 19th century and up to the present day. Subjects for consideration include: locations, size, capitalisation, techniques of manufacture, employment of artists and designers, marketing, and clientele, each deserving of greater scholarly attention.

The French Porcelain Society encourages networking between academic researchers and museum professionals. Proposals are welcomed from doctoral candidates in art history as well as curators, collectors, and researchers; we are also pleased to receive papers from colleagues working in literature, philosophy, and history. Speakers confirmed to date include Sonia Banting, Howard Coutts, Aileen Dawson, Virginie
Desrante, Nicole Duchon, Cyrille Froissart, Errol Manners, Audrey Gay-Mazuel, Hélène Huret, Tamara Préaud, and John Whitehead.

Themes for papers may include
• History of collecting (public and private) and connoisseurship
• Historical, political and socio-economic background to French porcelain production
• Design sources, production trends, fashion
• Cross-cultural influences
• Porcelain used as diplomatic gifts
• Domestic uses, tablewares and the history of dining
• Literary and theatrical themes, especially in figure production
• Porcelain as sculpture at Niderviller and other factories
• The art market

Papers should be between 20 and 50 minutes in length and fully illustrated. They may be presented in English or French. Please send a 300-word abstract with a short CV in the form of a PDF file to Aileen Dawson at aileendawson@hotmail.com by 15th June 2017.

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PhD Studentship, Art Patronage and Court Influence, 1660-1714, University of Oxford and Tate

Application deadline: May 22, 2017

Tate has up to five fully funded AHRC Collaborative Doctoral Partnership (CDP) studentships to allocate each year. We are currently inviting applications for the following full-time collaborative PhD studentship:

Art Patronage and Court Influence 1660–1714

Principal supervisor: Dr Hannah Smith (History Faculty and St Hilda’s College, University of Oxford)
Second supervisor: Tabitha Barber (Tate)

The History Faculty, Oxford University, in collaboration with Tate, is pleased to offer an AHRC-funded Collaborative Doctoral Partnership award, starting in October 2017.

The award will enable a student to pursue doctoral research in early modern court studies and visual culture while gaining first-hand experience of work within a museum setting. The successful candidate will be enrolled at and receive their degree from the University of Oxford.

Project
The Art Patronage and Court Influence 1660–1714 doctoral project will investigate and analyse courtier art patronage from 1660 to 1714, and interrogate the still prevailing scholarly view that by 1714 the court had declined as a sphere of cultural influence.

Until recently, it has been the supposition that by 1714 the court had waned as a vital force in politics and cultural influence. Instead of the court being the leader in terms of fashion and art patronage, to which others aspired, new avenues opened up as alternatives, notably with the growth of the public sphere. Now, however, new research has shown that this appraisal is unduly negative. Queen Anne’s court, and
those of her successors, were in fact far more culturally active and aware than has been credited, and throughout the period the court remained the location where political networks might be established and political and social status reinforced.

While new research has focused on individual monarchs, the collecting and commissioning activities of those attending court have been largely neglected by scholars, leaving significant gaps in our knowledge and understanding. This project will aim to address this gap. The successful candidate will be encouraged to explore, through a series of case studies, the collecting and commissioning activities of
significant individuals that speak to questions concerning court culture. The individuals could be female and male courtiers, great aristocrats, influential royal household officers and politicians, as well as figures seemingly beyond the court such as wealthy City merchants and financiers. Relevant sources such as inventories, accounts, diaries and letters, as well as the art itself in country house collections, will be used to address the central question – whether, or the extent to which, the court remained a relevant source of inspiration and aspiration; whether alternative art patronage networks opened; and the possible types of interaction between such networks.

The student will have scope to develop their interests widely within the parameters suggested above. More specifically, the project will develop alongside an exhibition English Baroque 1660–1714 in preparation at Tate Britain. The student will assist in the development of this exhibition. It is expected that the student’s contribution will
include developing case studies which provide evidence to underpin and enhance our understanding of particular aspects of the show and its arguments; presenting research as part of Tate’s talks and tours; as well as other forms of engagement. In addition, it is also expected that the student will research and write summary texts on relevant artworks in Tate’s collection for Tate’s website following internal guidelines. This will provide the student with early opportunities to publish research and gain experience in writing for the public and specialists.

Eligibility criteria
Applications are invited from candidates with a strong academic background in a relevant area of British art history and/or history. Applicants should hold (or expect to achieve), in a relevant area of British history and/or art history, a Master’s degree with merit or distinction and either a 1st Class or Upper 2nd Class Honours degree.
The award is funded through the AHRC Collaborative Doctoral Partnership programme and is subject to the AHRC’s terms (all candidates should check the AHRC eligibility guidelines to confirm their eligibility for funding). The studentship includes tuition fees up to the standard Home/EU amount and an annual maintenance grant. Note that overseas students are not eligible for AHRC awards (except under specific
circumstances) and EU students need to assess whether they are eligible for fees and maintenance or fees only. The AHRC doctoral award does not include funds for travel but please note that the student will be able to apply for external grants that would help to enable travel in the region. Collaborative Doctoral Partnership awards provide funding for 3.5 years, including a period of six months for research training.

Application procedure
Applications should be made through the Faculty of History by inserting the reference code 17AHRC-CDA in the Departmental Studentship Applications section of the standard University graduate application. You will need to apply for both the programme and this studentship via the main university online graduate application form, and pay the application fee. To access the application form and application guide please visit our online prospectus at www.graduate.ox.ac.uk/apply.

Candidates who have already been offered a place on the DPhil in History or DPhil in History of Art and wish to be considered for this studentship are invited to submit an expression of interest to the History Graduate Office (graduate.admissions@history.ox.ac.uk) by the deadline.
Candidates may be required to write a summary text as part of the interview process.

Application deadline: 22 May 2017
Interviews: 13 June 2017 at Tate Britain

Further information
The successful student will join a large cohort of doctoral students at Oxford University as well as a thriving research community at Tate.

Click here for more information about doctoral students at Tate.
Informal enquiries are welcomed by Dr Hannah Smith
(hannah.smith@st-hildas.ox.ac.uk) and Tabitha Barber
(tabitha.barber@tate.org.uk).

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Vacancy: Head of Collections and Exhibitions, Harewood House

Vacancy: Head of Collections and Exhibitions
Department: Collections and Exhibitions
Location: Harewood House Trust, Leeds
Term: Permanent, 40 hours per week
Salary: c.£40,000 per annum depending on skills and experience
Deadline to apply: 26 May 2017, 1pm

Harewood House

Harewood House is one of England’s finest country houses, lived in by the Lascelles family since its creation. It is a house and collection of national importance and one of Yorkshire’s leading visitor attractions, attracting between 150-200,000 visitors a year.

The House and Gardens have been open to the public since the 1950’s and in 1985 the educational charitable trust, the Harewood House Trust (HHT) was established to maintain and develop Harewood, its collections and grounds, for the public benefit. Since then there have been many successful exhibitions hosted at the House and the creation of Harewood’s first contemporary space, the Terrace Gallery, by the current Lady Harewood in 1989. This was first dedicated contemporary space of its kind in a historic house.

The Role

Reporting directly to the Trust Director, the Head of Collections and Exhibitions will develop, deliver and lead outstanding curatorship based on a real understanding of the importance and significance of our Collection, House and Grounds.

The successful applicant will have at least 3 years of senior management experience and will work closely with the Director and the Earl and Countess of Harewood in devising and implementing a holistic programming approach, based on audience research and a strategic vision, including significant contribution to public programming, audience development and collaboration.

The post holder will have responsibility for the care, protection, development and interpretation of the Collection. The role will be responsible for developing inspiring and exciting experiences for our visitors to engage with and encourage more people to explore and enjoy our cultural riches.

The successful candidate will operate at both a strategic and operational level and must be a confident public speaker and able to act as an ambassador for the Harewood House Trust. They must be able to demonstrate previous experience managing collections to an accredited museum standard and will also have significant budget management experience, whilst being adept at fundraising in areas such as conservation, acquisition and exhibition sponsorship.

Ideally, the successful applicant will have an academic distinction in one or more of the subject collection areas covered by Harewood House Trust and will be well connected in the art world, accustomed to networking and giving press interviews.

This is an excellent opportunity to play a vital role in a small and dynamic organisation at an exciting time in its development. If you feel you have the required skills and experience to meet the needs of the role and want to contribute to the future successful development of Harewood House, we would like to hear from you.

For further details and job description/specification, please see the attached job description and person specification or visit our website at http://harewood.org/about/join-us/jobs/

To apply for this role, please send a CV and cover letter identifying how you meet the job description/person specification  and include references, current salary and notice period. Please email this to Jo.McLachlan@cbs.capsticks.com  by 1.00pm on 26 May 2017.

The first round of interviews will take place in London mid June, with a second interview taking place at Harewood house a week later.

Harewood House Trust is committed to providing equal opportunities for all and to encouraging diversity through recruitment.  Applications are welcome from all sections of the community and decisions to progress will be made with reference to entirely objective criteria only.

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CFP: The Jewish Country House, 5-6 March 2018, Oxford

CFP: The Jewish Country House, University of Oxford, 5-6 March, 2018

Deadline to submit a proposal: Monday 12 June 2017

Organised by Professor Abigail Green, Professor David Rechter and Dr. Oliver Cox, University of Oxford, and Dr. Juliet Carey, Waddesdon Manor.

This workshop aims to establish the Jewish country house both as a focus for scholarly research and as a site of European memory. By focusing on a hitherto unidentified group of country houses – those that were owned, renewed and sometimes built by Jews – we aim to establish the importance of Jewish country houses like Port Lympne Mansion, Schloss Freienwalde, Villa Kerylos and Castello Sonnino as variations of a pan-European phenomenon deserving serious consideration from an academic and a heritage viewpoint.

The workshop aims to bring scholars working on Jewish country houses, castelli, chateaux, Schlösser and Villas together with curators, museum and heritage professionals working either in ‘Jewish country houses’ themselves or in the area of European Jewish heritage more broadly. The two day workshop will be held at TORCH, University of Oxford, with a visit to Waddesdon Manor [https://waddesdon.org.uk/], the only surviving Rothschild house with its collections and interiors intact.

Jewish country houses have so far escaped systematic study because they do not fit existing paradigms either in modern Jewish history or country house studies. The historiography of European Jewish elites has tended to focus on the grande bourgeoisie in its urban setting and does not consider the role families like the Bischoffsheims, the Bleichröders, the Péreires and the Sonninos assumed through their rural estates, nor the role of Jewish country houses in the self-fashioning of many leading Jewish figures such as Benjamin Disraeli, Ferdinand de Rothschild and Philip Sassoon in the UK, Leopoldo Franchetti in Italy, Walter Rathenau in Germany, and Théodor Reinach in France. Conversely, the literature on country houses, which typically focuses on the landed aristocracy, has paid little or no attention to the existence of country houses and rural estates in Jewish hands, or to the particular challenges this posed in a rural landscape and social context so powerfully shaped by Christianity.

We are seeking proposals for two types of contributions:

(1) Scholarly contributions exploring Jewish country houses in the UK and continental Europe, their architecture, furnishing, collections and social functioning, and their cultural and political role in the self-presentation and perception of European Jewish elites.

(2) Case studies of specific country house museums presented by country house and heritage professionals, which will allow us to consider the Jewish country house as a site of European memory and a significant aspect of European Jewish heritage and material culture. These case studies are designed to illuminate more generally the issues of presentation and display presented by specific Jewish country houses.

Particular questions likely to arise in either or both strands of the programme include:

  • What, if anything, was Jewish about these properties besides their owners?
  • What can be gained from comparing Jewish country houses with each other, both within and between national contexts?
  • Is it possible to identify personal, artistic or political connections between them, both nationally and internationally?
  • How do these houses and their rural estates relate to and/or challenge paradigms either of Jewish cosmopolitanism/ exoticism or of landed, aristocratic rootedness?
  • What was the relationship between these country houses and their urban counterparts?
  • How far, if at all, did these houses figure as ‘Jewish’ in public discussions of their owners, architecture, collections and preservation?
  • What particular issues of presentation and display do Jewish country house museums raise for curators and heritage professionals both in general, and perhaps in relation to the ruptures of the Nazi era?
  • How can we engage these issues sensitively without generalizing or over-simplifying the many different ways in which the Jewishness of individual estate owners both did and did not find expression in their properties and collections?

We anticipate that the British dimension of this workshop will be disproportionately important both in terms of scholarship and for heritage professionals, partly because of the cultural significance of the country house in Britain, but also because without a National Trust similar properties (and the archival record) have been less well preserved elsewhere, while the depredations of the Nazi era had a devastating effect on Jewish houses and their collections in continental Europe. Given this reality, we would particularly welcome contributions from scholars and heritage professionals related to Jewish country houses in continental Europe that will enable us to make scholarly connections between the Anglo-Jewish country house and its continental counterparts, and to promote ties between heritage professionals working in this area both in the UK and in continental Europe.

Confirmed speakers include Leora Auslander

Please submit your proposal with title, abstract of no more than 300 words, and a short bio/CV in one pdf or doc to X [email address] by Monday 12 June

We are grateful for the funding and resources towards this event provided by the Arts and Humanities Research Council, Brasenose College, the Paul Mellon Centre for British Art, and the University of Oxford John Fell Fund.

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PhD Studentship, The Landscape Painter’s Studio in the Age of Exhibitions: Private Galleries in London, from Gainsborough to Constable and Turner, c.1780–1850, University of York and Tate

Application deadline: May 12, 2017

Tate has up to five fully funded AHRC Collaborative Doctoral Partnership (CDP) studentships to allocate each year. We are currently inviting applications for the following full-time collaborative PhD studentship:

The Landscape Painter’s Studio in the Age of Exhibitions: Private Galleries in London, from Gainsborough to Constable and Turner, c.1780–1850

Principal supervisor: Dr Richard Johns (The University of York)
Second supervisor: Dr Martin Myrone (Tate)

The University of York, in partnership with Tate, is seeking to appoint a suitably qualified applicant for a full-time collaborative PhD studentship focused on landscape painters’ studios and private galleries in which images of rural Britain were made, displayed and sold during the period c.1780–1850. The studentship commences on 1
October 2017.

In recent years a generation of scholarship has helped to redefine the London art world of the late eighteenth and early nineteenth century as an ‘age of exhibitions’. Centred on the Royal Academy and its precursors, interest in the capital’s exhibition culture has also embraced the more explicitly commercial exhibition enterprises of John Boydell, Thomas Macklin and others. Far less attention has been given to the artist’s studio as a site of display and creative encounter. In so doing, this project will make a significant contribution to the scholarship on British landscape during the ‘golden age’, from Gainsborough to Turner, and bring newly into focus key historical questions around the country and the city, urbanisation and the commercialisation of culture, and the social dimensions of the rural in art. It will also contribute to the material and geographical turn in art historical scholarship, taking into account the physical locations, and physicality, of working spaces as a factor in understanding individual works of art. Combining documentary research with close visual analysis, the project will address the following questions. How did the urban situation of the landscape painter’s studio/gallery shape the viewer’s encounter with the paintings’ rural subject matter? What was the status of the landscape studio within the exhibition economy of the time? How were such spaces curated by the artist, and to what end? How were they promoted, made accessible or exclusive? Could they be sites of patriotism, protest, control, dissent?

In addressing these questions, the project will be expected to take shape around a series of case studies which will bring into focus issues arising from a wider survey of landscape painters’ studios in London over the relevant period. Alongside the salient spaces occupied by Gainsborough, Turner and Constable, these might include Richard
Wilson’s studio in Covent Garden, George Barret’s in Portman Square and Westbourne Green, and George Morland’s successive London residences, as well as the nineteenth-century painting rooms of Philip Reinagle in Cavendish Square, Peter De Wint in Percy St, and John Linnell in Cirencester Place. Mapping these and other sites onto the social and cultural topography of late Georgian and Regency London (alongside the more visible institutional exhibition spaces of the capital), the project seeks to identify and understand the modern studio-cum-gallery as a particular and potent space for the production and reception of rural landscape painting – a close encounter of city and country that had a profound impact on the shape of modern British art.

The successful applicant will have the opportunity play an active role in the Curatorial Department at Tate Britain, and will be able to participate in relevant programmed activities organised by the Tate Research Centre: British Romantic Art and British Art Network: Subject Specialist Network, and by the Research Department at Tate. As well as contributing to the development of future display and exhibition projects at Tate Britain, the student will be expected to produce around 20 summary texts on Tate collection works relevant to his/her dissertation research for publication on Tate’s website. Training and support will be provided, and this will provide a valuable opportunity for the student to publish with Tate.

Entry criteria
We invite applications from candidates with a strong academic background in eighteenth- or nineteenth-century art and culture. Successful applicants normally have a good first degree (at least 2.1, or international equivalent) in a relevant field, and have obtained or are currently working towards a Master’s degree at Merit level, or international equivalent, in the history of art. If English is not a candidate’s native language, he or she will also need to satisfy the English language entry requirements of the University of York.

To apply
Applicants should complete the online form on the University of York website and should include the following documents as attachments:
– a full curriculum vitae
– a research proposal of no more than 1,000 words, outlining a particular area or approach that they would like to pursue
– a writing sample of up to 5,000 words
– an academic transcript
– details of two referees
– if relevant, proof of English language proficiency.

Attachments should use the following naming convention: [Surname]_CV and [Surname]_Research_Proposal.

Please ask two referees to email signed references (from their institutional email accounts) to histart-pg-admissions@york.ac.uk. The responsibility for ensuring that references are received by the deadline rests with the candidates. Referees must email their references from their institutional email accounts (references sent from personal/private email accounts will not be accepted unless in the form of a scanned document on institutional headed paper and signed by the referee).

Application deadline: 12 May 2017
Interviews: 1 June 2017

More information
Subject to AHRC eligibility criteria, the award covers full tuition fees at the UK/EU rate and a stipend towards living expenses for three years. The national minimum doctoral stipend for 2017/18 has been set by Research Councils UK as £14,553 plus £550 additional payment for Collaborative Doctoral Students.
Note that overseas students are not eligible for AHRC awards (except under specific circumstances) and EU students need to assess whether they are eligible for fees and maintenance or fees only. The studentship applies to the York-based PhD programme only (i.e. not the PhD by Distance Learning programme).
If you have any queries or would like to discuss this opportunity before applying, please contact Dr Richard Johns at richard.johns@york.ac.uk.
If you have any queries regarding the application process, please
contact histart-pg-admissions@york.ac.uk.
For more information about studying at York visit
www.york.ac.uk/history-of-art/prospective-postgraduates.

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Lecture: Collecting Contemporary Art: Data Visualization in Qualitative Research, Dr. Anne Luther, 15 May 2017, Berlin, Germany

Lecture: Collecting Contemporary Art: Data Visualization in Qualitative Research, by Dr. Anne Luther

When: 15 May 2017, 18h15
Where:  Room A 111, Architecture Building of the TU, Straße des 17. Juni 150/152, 10623 Berlin.

The event is part of a series of lectures organised by FOKUM: Forum Kunst und Markt / Centre for Art Market Studies

Collecting Contemporary Art: Data Visualization in Qualitative Research

The lecture presents Anne Luther’s PhD research, a cultural analysis of today’s art market in New York that takes into account the overarching trends in contemporary art collecting and art production. The study was conducted by Luther in New York between 2013 and 2015. Rather than looking at economic quantities of the market, Luther participated actively in the contemporary art world and collected a vast amount of qualitative data, which in this case were interviews with artists, curators, gallerists, critics and collectors, and additionally participant observation and research diaries. The qualitative dimension of the data represents the “social world” that surrounds collecting and collections of contemporary art. With these deductions, Luther illustrates a visual network of entities that overlap between art production and collecting practices, leading to a theoretical understanding of complexities within the international art world. The data visualization is based on software that Luther developed in 2014 at the Parsons Institute for Information Mapping (today Center for Data Arts) at the New School in New York City. The software is an interactive web tool that visualizes qualitative data analysis.

Dr. Anne Luther

Anne Luther is a researcher, art manager and software developer whose work examines the contemporary art market and data visualization in qualitative research. She received her PhD from Central Saint Martins College of Art and Design, London in 2016 and is currently a researcher at the Department for Modern Art History at the Institute of Art History and Historical Urban Studies at TU Berlin. Between 2015 and 2017 she established a lab for qualitative data visualization at The Center for Data Arts at The New School in New York City and assisted Professor Boris Groys at NYU from 2014 to 2017. Her research is grounded in cultural studies, ethnography and art theory. Luther worked in several art institutions including MoMA PS1, KW Institute for Contemporary Art, HKW Berlin and the art advisory Front Desk Apparatus in New York.

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Conf: The Renaissance Studiolo in Europe, 9-10 May 2017, Esztergom, Hungary

Conference & workshop: The Renaissance Studiolo in Europe, Esztergom, Hungary

Location: Knight Hall – Esztergom Castle Museum, Szent Istvan square. 1.

Programme

Tuesday, 9 May 2017

9.15-9.30: Registration

9.30-10.00:
Inauguration
János LAZÁR, Minister of the Prime Minister’s Office, Benedek VARGA
Director-General of the Hungarian National Museum

Introduction:
Sabine FROMMEL (Directeur d’études, histoire de l’art de la
Renaissance, École pratique des hautes études, Sorbonne, Paris)
László SZÖRÉNYI (Hungarian Academy of Sciences, Budapest)
Péter SÁRKÖZY (Sapienza University of Rome)

President: Péter SÁRKÖZY

10.00 -10.30:
Mária PROKOPP (ELTE University, Budapest):
“Lo Studiolo dell’arcivescovo Johannes Vitéz, primate d’Ungheria e
cancelliere del re Mattia Corvino a Esztergom”

10.30-11.00:
Konstantin VUKOV (Fachingenieur für Denkmalpflege):
“Das Studiolo in Esztergom / Gran: Architektur des Raumes, Architektur
im Wandbild”

11.00: Discussion

11.15: Coffee break

11.30-12.00:
Edina ZSUPÁN (National Széchényi Library):
“La descrizione della Villa di Laurentium di Plinio nel codice
dell’arcivescovo Johannes Vitéz (Vienna, ÖNB, Cod, 141)”

12.00 -12.30:
Zsuzsanna WIERDL (Director of the restoration and the scientific
resarch work of the Studiolo, Esztergom, president of Mural Painting
International Scientific Committee ICOMOS):
“La tecnica e la provenienza dei dipinti murali dello Studiolo di
Esztergom”

12.30-13.00:
Christophe PONCET (Villa Stendhal, Centre de Recherches Platoniciennes
et Chrétiennes, Paris):
“Les Vertus Cardinales du Studiolo d’Esztergom et leur modèles.
Nouveaux indices à l’appui de l’attribution à Botticelli.”

13.00: Discussion

13.15: Lunch break

President: Sabine FROMMEL

15.30 -16.00:
Pierre-Gilles GIRAULT (Musée de Brou):
“Le cabinet de François Ier au château de Blois”

16.00 -16.30:
Hervé MOUILLEBOUCHE (University of Burgundy):
“Le cabinet dans la tradition bourguignonne”

16.30: Discussion

16.45: Coffee break

17.00-17.30:
Xavier PAGAZANI (Aquitaine Regional Council):
“Les cabinets de Henri II au château d’Anet”

17.30-18.00:
Maurice HOWARD (University of Essex):
“Le cabinet privé en Angleterre”

18.00: Discussion

Wednesday, 10 May 2017

President: Maria PROKOPP

9.15-9.45:
Christoph L. FROMMEL (Bibliotheca Hertziana, Rome):
“La Camera della Segnatura di Raffaello e la sua funzione come studiolo”

9.45-10.15:
Marco FOLIN (University of Genova):
“Studioli rinascimentali nelle residenze della Casa d’Este (secoli
XV-XVI)”

10.15: Discussion

10.30: Coffee break

10.45-11.15:
Claudio CASTELETTI (Sapienza University, Rome):
“Mitologia, allegoria e filosofia nel programma iconografico ed
epigrafico dei camerini di Alfonso I d’Este a Ferrara”

11.15 -11.45:
Valentine CONTICELLI (Polo Museale Fiorentino):
“Dallo Studiolo del Principe alla Tribuna del Granduca”

11.45-12.15:
Sabine FROMMEL (EPHE, Sorbonne, Paris):
“Le studiolo chez Sebastiano Serlio; son “Sixième Livre” et sa pratique
architecturale”

12.15: Discussion

13.00: Lunch break

President: Zsuzsanna WIERDL

14.15-14.45:
Maria José REDONDO CANTERA (University of Valla­dolid):
“Lo Studiolo in Spagna”

14.45-15.15:
Nuno SEN OS (New University of Lisbon):
“La guardaroba delle residenze rinascimentali in Portogallo e la sua
funzione di studiolo”

15.15 -15.45: Final discussion

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Workshop: Digital Art History, 25 May 2017, Florence, Italy

Digital Art History: Mapping Medieval and Renaissance Objects and
Networks: Workshop at Villa I Tatti, Florence

Date: Thursday 25 May 2017, 4pm to 7pm
Location: Gould Hall
No registration required

In 2016-2017, I Tatti introduced its new Mellon Fellowships in the Digital Humanities. In concurrence with this, the institute will host a workshop on the topic “Digital Art History: Mapping Medieval and Renaissance Objects and Networks” on May 25. The presentations by Tracy Chapman Hamilton and Catherine Walsh will concentrate on the visualization of geographical data and networks. In a focused discussion moderated by Angela Dressen, the respondents Leif Isaksen, Arno Bosse, and Andrew Battista will explore mapping, network analysis, and data curation challenges as we look to the future of the field of DH.

Program

4.00 – 4.10
Angela Dressen (Villa I Tatti, Andrew W. Mellon Librarian)
Introduction to the Workshop

4.10-4.40
Leif Isaksen (Project Director: Pelagios Commons, Lancaster University )
Arno Bosse (Digital Project Manager: Cultures of Knowledge, University of Oxford)
Andrew Battista (Librarian for Geospatial Information Systems, New York University)
Discussion

4.40 Tea break

5.00-5.30
Tracy Chapman Hamilton (University of Richmond)
Mapping the Medieval Woman

5.30-6.00
Mapping Sculpture
Catherine Walsh (University of Montevallo)

6.00-7.00
Discussion

7.00
Aperi-tatti

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Symposium: Sculpture Collecting and Display, 1600-2000, May 19-20

Screen Shot 2017-05-04 at 12.34.03

Download the program and purchase tickets here.

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Conference – À l’Orientale: Collecting, Displaying and Appropriating Islamic Art and Architecture in the 19th and Early 20th Centuries, May 4-6, 2017

Zurich and Schaffhausen, Switzerland

Organised by Dr. Francine Giese of the University of Zurich and Dr. Mercedes Volait of CNRS/InVisu, the conference aims to present the Swiss traveller and art collector Henri Moser (1844-1923) in an international context. Lectures will examine his activity, the display strategies of his collection and the role private collectors played transmitting and appropriating Islamic art and architecture in the West during the 19th and early 20th centuries.

Keynote speakers: Kjeld V. Folsach of the David Collection, Copenhagen; Yannick Lintz of the Musée du Louvre, Paris; Tim Stanley of the Victoria and Albert Museum, London; Stefan Weber of the Museum für Islamische Kunst, Berlin.

For more information, click here.

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