CFP: Arts Patronage in Modern America (Oxford, 26-28 Jun 2019)

From: KPHeath <karen.heath@rai.ox.ac.uk>
Date: Oct 15, 2018
Subject: CFP: Arts Patronage in Modern America (Oxford, 26-28 Jun 19)

Oxford, UK, June 26 – 28, 2019
Deadline: Jan 4, 2019

Arts Patronage in Modern America
Rothermere American Institute, University of Oxford, UK

The founding of the National Endowment for the Arts in 1965 was a celebrated occasion for many artists and cultural patrons in the United States, but it failed to put to rest the decades old public debate over whether or not art and culture ought to be supported by the federal government. From the Reagan era in particular onwards, straight through to the Trump administration, Culture Wars debates have centred on whether the federal government should fund art, if so, how much, and if not, who should? From the New Deal federal arts projects of the 1930s to the cultural Cold War and beyond, the story of the growth of American arts patronage has often been told through the lens of the federal government, with philanthropies, corporations, state and local governments playing supporting roles to leading federal agencies such as the Central Intelligence Agency, the United States Information Agency, and the State Department, amongst others.

Although the American state’s role and influence in cultural affairs expanded in the twentieth century, the degree to which the state actually drove these transformations both at home and abroad remains to be examined. What role did American corporations or philanthropies play in shaping emerging forms of cultural patronage? Did state or local programmes and policymakers push changes at the national or international level? And what impact did artistic participants have on developing or curtailing the institutionalisation of American art and culture? Answering such questions will offer an insight into cultural relations between private and state actors, which promises, in turn, to inform not only understandings of the institutional forms of modern American culture, but also to illuminate how individual and private actors have shaped the American state. This conference therefore calls upon scholars, policy-practitioners and artists working on and in modern American arts patronage, broadly defined, to submit proposals for papers that explore and critique the existing narrative.

Topics may include, but are not limited to:
– philanthropy and government cultural cooperation or conflict
– cultural funding, policy or exchange either at home or abroad
– the creation, implementation, and impact of cultural policymaking at the state or local levels
– how artists or academics experienced cultural policy or patronage
– cultural policy and protest or lack thereof
– philanthropy or philanthropic funding in the cultural sphere
– federal cultural programmes and agencies
– national or transnational public-private arts partnerships and programmes

Individuals interested in delivering a 20 minute paper should submit a brief abstract (approx. 400 words), a short CV (no more than 2 pages), and a brief biography (of around 250 words) to karen.heath@rai.ox.ac.uk and niedf005@umn.edu by 4th January 2019. Full panel proposals are welcome, although all-male panels will not be considered nor compiled by the organisers. We encourage submissions from scholars of colour and from those whose voices have traditionally been left out of scholarly narratives.

We hope to be able to offer a limited number of bursaries to support attendance by postgraduates and early career researchers. Priority will be given to those presenting papers. Please indicate in your email if you would like to apply for a bursary and whether you have access to institutional support, giving an estimate of potential travel and accommodation costs. You can visit our website at https://americanartspatronage.wordpress.com/

Conference Organisers:
Karen Patricia Heath, Rothermere American Institute, University of Oxford
Amanda Niedfeldt, University of Minnesota – Twin Cities

Reference / Quellennachweis:
CFP: Arts Patronage in Modern America (Oxford, 26-28 Jun 19). In: ArtHist.net, Oct 15, 2018. <https://arthist.net/archive/19252>.

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CONF: Germany and France: Art Market and Art Collecting 1900-1945 (Nov 9-10, 2018)

GERMANY AND FRANCE: ART MARKET AND ART COLLECTING 1900–1945

International Conference at TU Berlin, Germany

Friday – Saturday,
9-10/11/2018

Venue: Technische Universität Berlin, Senate Room H 1035/1036, Straße des 17. Juni 135, 10623 Berlin

www.fokum.org
@fokumberlin

Refugee crises, trade wars, migration debates: within the context of global geopolitical, economic and cultural-political upheavals, Europe is presently undergoing a process of transformation. At the same time, European territorial occupations and past colonial rules are coming increasingly into the focus of national and transnational scholarship and the politics underlying it.

The international conference “Germany and France: Art Market and Art Collecting 1900–1945” at TU Berlin responds to these dynamics. The thematic emphasis is research into the art market and art collecting in national and transnational networks in Germany and France as well as how these networks relate to art and cultural policy from 1900 to 1945. Read more of this post

Art Market Studies | 17th October 2018 at 7:00 am | URL: https://wp.me/p7C0fH-1qX
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Report on Society members’ visit to The Paston Treasures: Microcosm of the Known World

The exhibition on the painting and collections of the Paston family held in Norwich Castle Museum over the summer, was a long-awaited moment for all those interested in 17th-century collecting or more particularly, in the cabinet of curiosity. The painting of the Paston Treasure was known, but not very well and was full of unresolved questions, including when it was painted, by whom or indeed why. The exhibition has brought the painting the attention it deserves, and although many questions remain, some, such as the dating and the commission seem closer to being resolved.

As a result of extensive research, it is now suggested that the painting was probably commissioned by William (1610-1663), rather than his son Robert as previously thought. William has been shown to have had a most fascinating history, including a long tour to Italy certainly and most probably through the Hapsburg domains to Schloss Ambras near Innsbruck, possibly to Prague and certainly to the Egypt. His treasures, many of them included in the painting, reflected the objects that he would have seen, both at Ambras and in Florence. In Florence, he visited the Grand ducal collections with the artist and sculptor, Nicholas Stone, another link between this merchant and the international world of art collectors.

The exhibition brought together many of actual objects displayed in the painting, as well as examples of the types listed in the 1673 inventory of Oxnead Hall, demonstrating the rich and very continental taste and commissions of the owner. New discoveries abounded, such as those resulting from the technical investigations, which confirmed the changes and repainting of some sections, thought to come from the intervention of the patron. A painting of Oxted Hall was on display, which had been the subject of a recent article by Simon Jervis in the Burlington Magazine about the architectural framework for the building of Oxnead Hall; the section of the exhibition on the Paxtons and alchemy took the visitor into the scientific world of Sir Thomas Browne in Norfolk to the manuscript by Margaret Paston (1652-1723) of alchemical recipes c1683. Married to a Venetian and exchanging information with the princes of Europe, her life demands more investigation.

The commission for the painting remains extraordinary both in terms of subject and artist. Clearly painted by an artist of considerable skill, we cannot determine who he was, except that he was probably either Dutch or Flemish, and possibly was visiting England rather than a resident. The wealth of detail in the painting led the curators of the exhibition and our guides. Andrew Moore and Francesca Vanke, to argue that the painter must have visited Oxnead Hall and painted the objects in situ.

With such a plethora of art works and historical context, it is no wonder that the members of the Society for the History of Collecting happily spent many hours in the exhibition, led through all the intrigues and insights into the cultural ambience of England in the middle of the seventeenth century. There is not space here to go into all the many aspects of the exhibition: the patrons, family, travel, artistic milieu, architecture, works of art, history of science, politics all played a role and took their part in this fascinating exhibition. The members of the Society who were able to take part in the visit were privileged to be able to delve into some of these questions through the generosity of Andrew and Francesca. We are enormously grateful to them for giving up the whole of their Saturday to us and offering us such a rewarding visit.

Adriana Turpin

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CFP: MDCCC 1800, No.8: Celebrating Ruskin

From: MDCCC 1800 <mdccc1800@unive.it>
Subject: CFP: MDCCC 1800, No.8: Celebrating Ruskin

Deadline: Dec 2, 2018

Call for papers
International on-line scientific peer reviewed journal MDCCC 1800
http://edizionicafoscari.unive.it/en/edizioni/riviste/mdccc-1800/
Deadline for abstracts: 2 dicembre 2018.
Deadline for submission of papers: 31 marzo 2019.

[Italian text follows]
Call for papers
The call for papers for the 8th issue of the MDCCC1800 journal is now open.

CELEBRATING RUSKIN! Reconsidering the Venetian Masters of the Renaissance in the 19th century.

At MDCCC1800 we wish to celebrate the 200th anniversary of the birth of English art historian John Ruskin, whose love for the city of Venice was a central theme in the recent exhibition held at Palazzo Ducale in Venice (“John Ruskin. Le pietre di Venezia” 10 March-10 June 2018, curated by Anna OttaniCavina), as an occasion to reflect on how Venetian artworks and artists of the Renaissance period were viewed in the 19th century. Starting points for this area of research are two recent works: Emma Sdegno’s volume about Tintoretto (“Looking at Tintoretto with John Ruskin”, Venezia 2018; in English, French and Italian) and a collective volume on “Tiziano, Canova e la basilica dei Frari nel 19° secolo” (edited by Elena Catra, Isabella Collavizza e Vittorio Pajusco, Treviso 2018). As these and other works show, studies devoted to the 19th century reception of Venetian masters of the Renaissance have the potential to make significant and innovative contributions both to research on single works and artists and to our understanding of cultural history more broadly.
For the forthcoming monographic issue of the Journal we welcome original, unpublished contributions which focus, for instance, on the interest developed in the 19th century for individual artists and architects, or for single works of art and architecture; also relevant are aspects of art criticism and art literature, as well as topics concerning collections or museums, or restoration projects; further, contributors might wish to focus on the role played by artists and artworks in the thought and writings of historians of art and architecture, as well as of intellectuals, artists and architects, active in the 19th century.

A list of suggested topics, by no means exhaustive, includes:
o    the 19th century reception of individual artists, architects, artworks;
o    the 19th century art market: collections, museum acquisitions, exhibitions and installation projects;
o    the function and role of non-specialist publications (tourist guidebooks, brochures, pamphlets, catalogues etc.) in the 19th century;
o    the use and role of photography in the 19th century in familiarising the general public with works of art and architecture;
o    thinking and teaching about individual masters and works within Art Academies in the 19th century;
o    the influence of individual masters and works on the artistic development of 19th century artists and architects.

We welcome submissions for papers in Italian, English, French, Spanish and German.

ABSTRACT SUBMISSION | Please submit an abstract concerning the topic you propose with a provisional title and a short autobiography. The abstract should not exceed 3,000 characters (spaces included). Files should be submitted by 2 December 2018 to the Editorial Board. The authors of selected abstracts will receive a reply by the end of the month. The editorial rules concerning the text and any images the author might wish to include are available (in Italian, English and Spanish) at the following link: http://edizionicafoscari.unive.it/en/edizioni/norme-redazionali/
Papers should be of a length between 20,000 and 40,000 characters. All articles will undergo a double peer review process prior to publication.   Articles should be uploaded on the MDCCC1800 platform by 31 March 2019.
Please do not hesitate to contact us at the following email address mdccc1800@unive.it with any queries you might have regarding the application or any further stage of the process

Best regards,
The Editorial Board

_________________________________________________

Call for papers MDCCC 1800
http://edizionicafoscari.unive.it/it/edizioni/riviste/mdccc-1800/
Scadenza invio abstract: 2 dicembre 2018
Scadenza invio articoli: 31 marzo 2019

Call for papers
È aperto il call for papers per la pubblicazione del n. 8 (2019) della rivista MDCCC 1800

PER RUSKIN! L’Ottocento e i Maestri veneziani del Rinascimento.
La rivista MDCCC1800 intende cogliere la ricorrenza dei 200 anni trascorsi dalla nascita dello storico dell’arte inglese John Ruskin e il suo amore per la città di Venezia, già al centro della mostra curata da Anna Ottani Cavina “John Ruskin. Le pietre di Venezia” (Venezia, Palazzo Ducale, 10 marzo-10 giugno 2018), per riflettere sulla considerazione delle opere d’arte e degli artisti veneziani del Rinascimento nell’Ottocento. Come già messo a punto nell’indagine compiuta di recente su Tintoretto da Emma Sdegno nella monografia “Looking at Tintoretto with John Ruskin” (Venezia 2018; in inglese, francese e italiano) e affrontato per Tiziano nel volume collettaneo “Tiziano, Canova e la basilica dei Frari nel 19° secolo”, a cura di Elena Catra, Isabella Collavizza e Vittorio Pajusco (Treviso 2018), le ricerche condotte mediante studi appositamente dedicati alla fortuna dei Maestri veneziani del Rinascimento nell’Ottocento possono essere foriere di novità scientifiche rilevanti sia per gli studi delle singole opere e degli artisti sia più in generale per la storia della cultura. Per questo numero monografico si accolgono, pertanto, contributi originali e inediti che approfondiscano, ad esempio, l’interesse che nell’Ottocento si riscontra per singoli artisti, architetti e opere d’arte e di architettura; ancora, argomenti rilevanti potrebbero riguardare aspetti di critica d’arte e letteratura artistica, vicende collezionistiche e museali, interventi di restauro, nonché il ruolo esercitato da artisti ed opere nella riflessione originale di storici dell’arte e dell’architettura, intellettuali, artisti e architetti contemporanei.

Senza escludere altri ambiti si propongono i seguenti temi:
o    L’indagine sulla fortuna di singoli artisti, architetti e opere
o    Il mercato dell’arte tra collezionismo, acquisizioni museali, esibizioni e progetti di allestimento
o    La funzione e il ruolo delle pubblicazioni divulgative (guide turistiche, opuscoli, cataloghi)
o    L’utilizzo e il ruolo della fotografia nella diffusione delle opere d’arte e d’architettura
o    La riflessione e la didattica su singoli Maestri o opere all’interno delle Accademie d’arte
o    L’influenza di Maestri o singole opere nella formazione degli artisti e degli architetti contemporanei

Si accettano testi in italiano, inglese, francese, spagnolo e tedesco.

ABSTRACT SUBMISSION | Per proporre un contributo si prega di inviare il titolo provvisorio e un abstract di max. 3.000 battute (spazi inclusi) con una breve nota biografica. I materiali vanno inviati entro il 2 dicembre 2018 alla redazione di MDCCC1800 all’indirizzo e-mail mdccc1800@unive.it. Gli autori degli abstract selezionati saranno contattati entro la fine del mese. Al seguente link si trovano le norme redazionali (in lingua italiana e inglese) con le indicazioni per il testo e le eventuali immagini a corredo: http://edizionicafoscari.unive.it/it/edizioni/norme-redazionali/
I testi proposti dovranno essere composti tra le 20.000 e le 40.000 battute (spazi inclusi). Tutti i testi saranno sottoposti ad una doppia peer review anonima. Gli articoli dovranno essere caricati sulla piattaforma online della rivista entro il 31 marzo 2019.
La redazione resta a disposizione per eventuali domande e chiarimenti alla seguente email: mdccc1800@unive.it

Un cordiale saluto
La Redazione

Reference / Quellennachweis:
CFP: MDCCC 1800, No.8: Celebrating Ruskin. In: ArtHist.net, Sep 27, 2018. <https://arthist.net/archive/19024>.

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CONF: Artists’ Collections (Copenhagen, 16 Nov 2018)

From: Anne Gregersen <annegregersen@hum.ku.dk>
Subject: CONF: Artists’ Collections (Copenhagen, 16 Nov 18)

Copenhagen, Carlsberg Akademi, November 16, 2018
Registration deadline: Nov 7, 2018

Seminar: Artists’ Collections and Echoes of the Past in the Present

The art collections of artists constitute a distinct sub-category of private collections. They can be seen as personal narratives that nourish the artists’ own practice and locate it in an art-historical framework – formed and tailored to fit the artists’ own idiosyncratic criteria. In a reciprocal relationship the artists activate the objects and the objects the artists – and like an echo the collections resonate in the present.

The purpose of this seminar is to explore the specific nature of several artists’ collections and to discuss how image collections at a broader level have contributed to the development and transformation of artistic and art historical practices over a period of 150 years.

Moving from Thorvaldsen’s ‘reservoir’ of over 15,000 antiquities, contemporary paintings and lithographs, to Rodin’s copious collections of objects of every kind, then onto Willumsen’s so-called Old Collection, and finally to Asger Jorn’s untameable picture archive covers a vast range, but also provides a basis to ask some principal questions: Do artists’ collections challenge or contradict the canon of art – and can a collection ‘write’ art history? What happens when artists’ collections enter or form the basis of a museum, and a previously private narrative enters the public realm? How can the afterlife of images be traced in an art practice that draws on a collection? And how did the accelerating reproduction culture of the 20th century affect the possibilities for comparing and juxtaposing visual material?

We look forward to welcoming art professionals, scholars, artists and others with an interest in the field to the seminar.

Limited places. Please register: www.jfwillumsensmuseum.dk/artists-collections

PROGRAMME FOR THE SEMINAR:

9:40 Welcome by Lisbeth Lund, director of J. F. Willumsen’s Museum

9:45 Introduction by Anne Gregersen, J. F. Willumsen’s Museum / University of Copenhagen

SECTION I: THE ART COLLECTION AS A PERSONAL PARTHENON OR COUNTER CANON

10:00 KEYNOTE: Dr. Pascal Griener, Université de Neuchâtel, “The Rodin Galaxy of Objects. Creative Collecting around 1900 and its Interpretation within the History of Collections

11:00 Rasmus Kjærboe, Ribe Kunstmuseum / Aarhus University, ”The Private Museum – Collections as Artworks from Sir John Soane to Prince Eugen”

11:30 Anne Gregersen, J. F. Willumsen’s Museum / University of Copenhagen, ”The Rejection of a Museum Collection and What to Do With J. F. Willumsen’s Wild Attributions”

SECTION II: THE IMAGE COLLECTION AS A TOOL FOR WRITING ART HISTORY

13:00 KEYNOTE: Dr. Uwe Fleckner, Universität Hamburg, “The Rhetoric of Synopsis. Collecting Images as an Act of Historiography: Aby Warburg, Carl Einstein, and Some of Their Contemporaries”

14:00 Jens Tang Kristensen, University of Copenhagen / the Free Exhibition, “Archives, Avant-Garde and Anarchy – Asger Jorn and the Imaginary Museum”

SECTION III: ARTISTS INTERACTING WITH THEIR COLLECTIONS AND THE AFTERLIFE OF IMAGES

15:00 Yannis Hadjinicolaou, University of Hamburg / Warburg Haus, ”Collecting Greco – Painting like Greco: J. F. Willumsen”

15:30 Karen Benedicte Busk-Jepsen, Thorvaldsen’s Museum, “Dragging off Hylas to the 1830s. Thorvaldsen’s Transformation of an Antique Motif ”

16:00 Panel discussion and concluding remarks

16:40 – 17:30 Reception at Carlsberg Akademi

Thursday Nov. 15 there is a guided tour of the exhibition “Echo Room. Thorvaldsen, Willumsen, Jorn, and Their Collections” at J. F. Willumsen’s Museum in Frederikssund starting at 17:00. To register: www.jfwillumsensmuseum.dk/artists-collections

Venue: Carlsberg Akademi, Gamle Carlsberg Vej 15, 1799 Copenhagen V

Reference / Quellennachweis:
CONF: Artists’ Collections (Copenhagen, 16 Nov 18). In: ArtHist.net, Sep 27, 2018. <https://arthist.net/archive/18936>.

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CONF: Current research in medieval and renaissance sculpture (Utrecht, 15-16 Nov 2018)

From: Marjan Debaene <marjan.debaene@leuven.be>
Date: Oct 10, 2018
Subject: CONF: Current research in medieval and renaissance sculpture (Utrecht, 15-16 Nov 18)

Utrecht, Museum Catharijne Convent, Lange Nieuwstraat 38, November 15 – 16, 2018
Registration deadline: Nov 9, 2018

5th annual Ards colloquium
Current research in medieval and renaissance sculpture: The function of medieval sculpture and its relation to formal design and colour

PROGRAM

Thursday 15th of November 2018

09:15 Registration and coffee
09:45
Welcome | Marijke van Schijndel, Director Museum Catharijne Convent Utrecht

09:50
Introduction to the conference theme | dra. Marjan Debaene, Ards Coordinator & Head of Collections M-Museum Leuven

09:55
Chair morning session: Use and function | Annabel Dijkema, Junior curator Museum Catharijne Convent Utrecht

10:00
Keynote | Michael Rief, M.A., Vice-director, Head of Collections Suermondt-Ludwig-Museum Aachen
Late medieval sculptures for ‘reenacting’ the infancy and passion of Christ – and examples for their protestant re-use

10:45
Lecture 1 | dr. Gerald Volker Grimm, art historian and archaeologist Bonn University
Form, use and functions of moulded sculptures in the late middle ages

11:05
Lecture 2 | dra. Soetkin Vanhauwaert, KU Leuven and Assistant curator Art Collections KU Leuven
Traces of the sculpted St John’s head in a devotional context

11:25 Coffee Break

11:45
Lecture 3 | dr. Dagmar Preising, Curator Suermondt – Ludwig – Museum Aachen and dr. Vera Henkelmann, independent researcher and lecturer (a.o.)
Late Medieval and Renaissance Sculptured Chandeliers and their Relation to Nature – Form, Function and Iconography of Antler and Marian Chandeliers

12:05
Lecture 4 | Raf Verstegen, Emeritus professor KU Leuven
Made for liturgy (and theatre?): a Laying Christ  and an Entombment group in the collection of the Louvain M Museum

12:25 Discussion and questions

12:40 Lunch at Museum Catharijne Convent and free visit to the museum

13:40 We assemble at the conference room for the beginning of the afternoon programme.

13:45
Group I and II
Presentation and workshop | Annabel Dijkema
The sculpture collection of the Museum Catharijneconvent

Group III and IV
City Walk around Utrecht | guide to be confirmed
Medieval Sculpture in situ / in function

15:15 Coffee Break

15:45
Group III and IV
Presentation and workshop | Annabel Dijkema
The sculpture collection of the Museum Catharijneconvent

Group I and II
City Walk around Utrecht | guide to be confirmed
Medieval Sculpture in situ / in function

18:30 Conference dinner (location to be confirmed)
The dinner is offered to all chairs and speakers. Partipants are very welcome to take part provided that they register and pay their contribution beforehand. The price of the dinner will be around 40 €.

Friday 16th of November 2018

09:00 Welcome/registration and coffee

09:25
Chair morning session I: Tomb sculpture| dr. Peter Carpreau, Head of Old Masters M-Museum Leuven

09:30
Keynote | dr. Jessica Barker, Lecturer in Medieval Art, The Courthauld Institute of Art
Inside/Out: Sculpture, Performance and Concealment in Fifteenth-Century Europe

10:15
Lecture 1 | dr. Andrew Murray, Associate Lecturer, The Open University UK
Processional and Memorial Rituals amongst the Mourners of Philip the Bold’s Tomb

10:35
Lecture 2 | Joana Ramôa Melo, Post-Doc Research Fellow Fundação para a Ciência e a Tecnologia Portugal
Effigies, performance and performativity: functions and meanings of three medieval tombs

10:55 Coffee Break

11:25
Chair morning session II: Architectural sculpture and materiality | chair: dr. Peter Carpreau, Head of Old Masters M-Museum Leuven

11:30
Lecture 3 | drs. Bart van Eekelen, Utrecht University
Iconography and materiality of the Saint Christopher chimneypiece (Markiezenhof, Bergen op Zoom)

11:50
Lecture 4 | dr. Elizabeth den Hartog, senior lecturer Leiden University
The sculpture of the Belfort in Sluis (Zeeuw Vlaanderen) : meaning, function and restoration

12:10 Discussion and questions

12:30 Lunch at Museum Catharijne Convent and free visit to the museum

13:25
Chair afternoon session: It’s in the details| chair to be confirmed

13:30
Lecture 5 | Philippe Depairon, M.A. University of Montréal
Ivory Towers. The Charlemagne Chess Set and the Semantics of Travel

13:50
Lecture 6 | dra. Elizabeth Rice Mattison, University of Toronto
The Heavenly Jerusalem in Miniature: Reliquary Statuettes in the Former Diocese of Liège

14:10
Lecture 7| drs. Michaëla Zoschg, Curator of Medieval Art in the Sculpture, Metalwork, Ceramics & Glass Department at the Victoria and Albert Museum in London and Phd Candidate at The Courtauld Institute of Art
Unravelling the Detail: An Unusual Early Sixteenth-Century Boxwood Carving of St George and the Dragon

14: 30 Coffee Break

14:50
Lecture 8 | dra. Sarah Nienas, Technische Universität Berlin
Materializing vision. The Angelic Salutation by Veit Stoss and the functions of its polychromy

15:10
Lecture 9 | dra. Ragnhild M. Bø, University of Oslo and Fellow at The Courtauld Institute
of Art
Sculptures and accessorizes – on the interfaces between devotion and decoration in medieval Norway

15:30 Discussion and questions

15:45
Digital Poster Presentations
– dr. Christopher Heginbotham, University of York
Bronze Door Panels and Façade Stone Relief Sculpture at San Zeno Maggiore, Verona
– dr. Predrag Marković, Associate Professor University of Zagreb
Fa presto and non finito in the sculpture of Giorgio da Sebenico
– drs. Silvia Bottura Scardina, University of Lisbon
“Architecturalization” of the Parisian print Books of Hours: Philippe Pigouchet and his embellishing borders

16:10
Ards yearly overview and Special announcement | dra. Marjan
Debaene, Ards Coordinator & Head of Collections M-Museum Leuven

16:20 Closing remarks

16:30 Closing reception

Registration and practical information
Participation to the Scholar’s Days and entrance to the Museum Catharijne Convent  is free of charge for all chairs, speakers and registered attendants.
Programme and timetable may be subject to change.
Please register here: https://docs.google.com/forms/d/e/1FAIpQLSc_zQT3-sEwezIYhE8ATF3pMMCHm-_7l1NfrH_tAbfSM2psww/viewform
Registration deadline: Friday November 9th

On both conference days, lunch and coffee breaks are included and free of charge for all registered attendants and speakers.
On Thursday evening, the 15th of Novermber we are organising a conference diner. Chairs and speakers are invited, other participants can opt in at their own expence (ca. 40 €)
Any questions? Don’t hesitate to contact us via info@ards.be of Anne Liefsoens, anne.liefsoens@leuven.be

Conference dinner
Ards is organising a conference dinner on Thursday nov. 15th at a location to be confirmed. Speakers can attend for free, other participants can join us for a fee of max. 40 euro (3-Course meal). Please specify if you wish to attend on the google registration form.

Travel and Lodging
Travel and Lodging arrangement must be made by the speakers and participants themselves and at their own expense. Lodging tips for Utrecht can be found on our webpage.

Questions or more information? Please contact info@ards.be

Reference / Quellennachweis:
CONF: Current research in medieval and renaissance sculpture (Utrecht, 15-16 Nov 18). In: ArtHist.net, Oct 10, 2018. <https://arthist.net/archive/19169>.

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CFP: Florence “city of the arts” and the French (Florence, 18-20 Sep 2019)

Sent from my iPhone
Begin forwarded message:

From: “ArtHist (Tim Urban)” <arthist@lists.clio-online.de>
Date: 12 October 2018 at 06:21:43 GMT+2
To: Adriana TURPIN <a.turpin@iesa.edu>
Subject: CFP: Florence “city of the arts” and the French (Florence, 18-20 Sep 19)
Reply-To: editors@arthist.net

From: Emmanuel Lurin <emmanuellurin@yahoo.fr>
Date: Oct 12, 2018
Subject: CFP: Florence “city of the arts” and the French (Florence, 18-20 Sep 19)

Florence, Villa Finaly, September 18 – 20, 2019
Deadline: Dec 15, 2018

Florence “city of the arts” and the French: the creation of a myth
International conference
organized by Sorbonne University

Steering committee:
Anne Lepoittevin, Emmanuel Lurin and Alain Mérot (Sorbonne University, Centre André Chastel)

Scientific committee:
Maurice Brock (University of Tours), Antonella Fenech (Sorbonne University), Daniela Gallo (University of Lorraine), Gianni Iotti (University of Pisa), Barthélemy Jobert (Sorbonne University), Alessandro Nova (Kunsthistorisches Institut in Florenz), Gilles Pécout (Recteur des Universités, Paris), Philippe Sénéchal (University of Picardie).

The object of this conference is to examine the role of the French in the construction of a myth of Florence as a “city of the arts” in history, art history and diverse forms of artistic production. In Florence, more than anywhere else in Italy, the beauty of the city, the urban landscape, the great artists and their masterpieces were subject to a veritable process of cultural mythologizing starting in the 19th century. Florence thus appears in French culture as an ideal and central location whose representations have an enormous impact on the general conception of the arts, of humanism, of the Italian Renaissance, of artistic genius. If the persistence of the Florentine myth has been well-documented by our European neighbors, particularly in England and Germany, the presence of the French in Florence, the importance of the Florentine myth and its intellectual and artistic evolution in France remain comparatively neglected by critics.

This conference aims to illustrate how Florentine works of art, artists and cultural hotspots were perceived and received by the French, the sorts of consideration and critical analysis generated in intellectual circles by the study of works of art, but also the numerous poetic evocations of the city, of Florentine art as well as the history of the Medici family in artistic and literary works in France (literature, plastic arts, music, photography, cinema). In addition to purely historiographical subjects, the conference will also focus on representations of Florence in other forms of artistic and intellectual activity, as well as in publishing production, print images and certain types of cultural industries which have continued to promote the Florentine myth in France up to the present.

For the Florentines as well as the French, the historical origins of the myth are often quite ancient, sometimes even contemporary with the creation of Florence as a “city of the arts” during the Renaissance. The influence of Florentine art in France, Franco-Florentine relations and the history of the Medici family’s’ “patronage” may constitute the subject of an introductory discussion. However, the main focus will be the relationship between the Florentine myth and the Romantic spirit in France, the 19th-century resurgence of interest in medieval and Renaissance arts, the rise of historical schools of thought, the development of public library collections, the trend of long journeys, etc. The conference will thus focus on the period (between 1850 and the Second World War) during which the myth of Florence became ingrained among writers, collectors and artists, followed by the rapid diffusion of these ideas and images among the social elites via education, reading and extensive travel, and ending up in a sort of democratization of the myth, in the first half of the 20th century, with the development of cultural tourism.

Applying to participate in the conference:
Propositions must be sent before Saturday December 15, 2018 to the following address: colloquevillafinaly2019@gmail.com

For all information on the conference, please write to one of the following addresses: alain.merot@paris-sorbonne.franne.lepoittevin@gmail.comemmanuellurin@yahoo.fr

Applications should include a full title, an abstract of around 1500 characters as well as a short curriculum vitae.

Languages accepted for presentation in Florence: French, Italian, and English.

Thematic orientations for presentations:

– French historians and the myth of the Florentine “Renaissance”
The perception of Florence in the works of French historians, past and present (“cradle of the Renaissance”, “origins of mannerism”). Reception of great medieval and Renaissance Florentine literary works (Dante, Machiavelli, Vasari, etc.) in France. Positivist works by 19th-century French art historians.

– The “city of the arts”: Florence as seen by French artists and writers
Art-lovers, artists and writers: how the French contributed to the construction of a great European myth (historical paintings, theater, music, novels, poetry, etc.). The reactions of French artists before the great masters of the Florentine Renaissance (Giotto, Botticelli, Michelangelo, Pontormo, Cellini, etc.).

– The Florentine model in France: in collections, museums and academies
The rediscovery of Florentine art in France in the 19th century and its role in the history of taste and collections. The role of Florentine artistic figures in the construction of an artistic imagination and pantheon. Great exhibitions of Florentine art.

– Cultural tourism, technology and industry: the Florentine myth in the contemporary world
French tourists in Florence after 1850: sites, figures and objects of an artistic cult; the role of technology in the construction of the Florentine myth (engravings, photography, guides, art books); the Florentine myth and the business of art (souvenirs, artifacts, etc.); the Florentine myth in the age of technology.

Reference / Quellennachweis:
CFP: Florence “city of the arts” and the French (Florence, 18-20 Sep 19). In: ArtHist.net, Oct 12, 2018. <https://arthist.net/archive/19208>.

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CFP: New Sculptors, Old Masters (Leeds, 8 Mar 19)

From: Charlotte Drew <charlotte.drew@bristol.ac.uk>
Date: Oct 12, 2018
Subject: CFP: New Sculptors, Old Masters (Leeds, 8 Mar 19)

Leeds, Henry Moore Institute, March 08, 2019
Deadline: Nov 30, 2018

New Sculptors, Old Masters: The Victorian Renaissance of Italian Sculpture

In his 1862 catalogue of the Italian Sculpture collection at the South Kensington Museum, curator John Charles Robinson (1824-1913) claimed:

“It never occurred to the artist of the revival to think architectural ornamentation beneath his dignity; on the contrary, the greatest sculptors have left us specimens of their genius in this branch … surely, where these great artists have so gladly trod no modern craftsman need disdain to follow.”

The collection of Italian Renaissance sculpture at South Kensington presented the Victorian viewer with a wide range of objects in diverse materials and vital colours, often with decorative functions: there were glazed terracottas, painted plasters and sculptures in wood, wax and black slate in sizes ranging from the colossal to the miniature. South Kensington’s broad presentation of the sculpture category promoted the Museum’s focus on the applied arts and the great Italian Renaissance sculptors therein were described as artists, architects and artisans who turned their talents to decorative sculpture in multiple materials.

Responding to a current exhibition in San Francisco, ‘Truth and Beauty: The Pre-Raphaelites and the Old Masters’ (Legion of Honor, San Francisco, 30 June – 30 September 2018) and the recent publication of Elizabeth Prettejohn’s ‘Modern Painters, Old Masters’ (New Haven: Yale UP, 2017), which concentrated on Victorian painters and the reception of early Italian Renaissance painting at institutions such as the National Gallery, ‘New Sculptors, Old Masters’ will highlight the productive sculptural response in the Victorian period to Italian Renaissance works in British collections.

The workshop will explore how nineteenth-century sculptors and critics directly encountered Italian Renaissance sculpture, in its broadest sense, through public and private collecting in Britain as well as travel on the Continent. How did encounters with a diverse range of Italian sculptural objects contribute to the developing mythologies of Italian sculptors in the nineteenth century? How did these encounters inspire Italian Renaissance receptions more broadly, both artistic and scholarly? How did they affect the perceived understanding of the term ‘Renaissance’ and its geographical, cultural and chronological boundaries? What impact did this have on modern sculpture practice?

We invite proposals for twenty-minute papers from postgraduate students, early career researchers and established academics on, but not limited to, the following topics:

– Scholarly and artistic receptions of Italian sculptural objects in the long nineteenth century
– Direct encounters with Italian objects in Britain and Italy
– Curating Italian Renaissance objects in the Victorian Museum
– Italian sculpture in public and private collections
– Artists as collectors of Italian objects/Italian objects in the sculptor’s studio
– The changing mythologies of Renaissance sculptors in the long nineteenth century
– Images/biographies of Italian sculptors in the nineteenth century
– Italian Renaissance sculptors and the New Sculpture/Arts and Crafts movement
– Italian objects used as teaching aids in the National Art Training Schools
– The relationship between sculpture and architecture

To submit a proposal, please e-mail an abstract of no more than 350 words and a short biography to Dr Charlotte Drew (charlotte.drew@bristol.ac.uk), Dr Melissa Gustin (mlg519@york.ac.uk) and Kirstie Gregory (kirstie.gregory@henry-moore.org) by 30 November 2018.

Reference / Quellennachweis:
CFP: New Sculptors, Old Masters (Leeds, 8 Mar 19). In: ArtHist.net, Oct 12, 2018. <https://arthist.net/archive/19209>.

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Book Launch: Collecting Art in the Italian Renaissance Court: Objects and Exchanges (Cambridge University Press, 2018)

Collecting Art in the Italian Renaissance Court: Objects and Exchanges (Cambridge University Press, 2018) by Dr. Leah Clarke

25 OCTOBER at 6pm

The COURT ROOM SENATE HOUSE

MALET ST, LONDON

In this book, Leah R. Clark examines collecting practices across the Italian Renaissance courts, exploring the circulation, exchange, collection, and display of objects. Rather than focusing on patronage strategies or the political power of individual collectors, she uses the objects themselves to elucidate the dynamic relationships formed through their exchange. Her study brings forward the mechanisms that structured relations within the court, and most importantly, also with individuals, representations, and spaces outside the court. The book examines the courts of Italy through the wide variety of objects – statues, paintings, jewellery, furniture, and heraldry – that were valued for their subject matter, material forms, histories, and social functions. As Clark shows, the late fifteenth-century Italian court can be located not only in the body of the prince but also in the objects that constituted symbolic practices, initiated political dialogues, caused rifts, created memories, and formed associations.

There will be a short talk by Leah Clarke followed by a reception.

You will be able to buy the book at a discount of 40% for £45 at the launch. Cash only please.

Hosted by the Seminar for Collecting and Display, IHR, the Society for the History of Collecting, and the Open University.

TO REGISTER PLEASE GO TO https://www.eventbrite.co.uk/e/book-launch-collecting-art-in-the-italian-renaissance-court-tickets-47995704444

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CONF: Wilhelm von Bode and the Art Market (Bern, 8-9 Nov 2018)

From: Joanna Smalcerz <joanna.smalcerz@ikg.unibe.ch>
Date: Oct 10, 2018
Subject: CONF: Wilhelm von Bode and the Art Market (Bern, 8-9 Nov 18)

University of Bern, Institute for Art History, Department of Modern and Contemporary Art History, Hallerstrasse 6, Room 205, November 8 – 09, 2018

International Conference
Wilhelm von Bode and the Art Market

PROGRAM

Thursday, 8 November 2018

15.00
Welcome and Introduction
Joanna Smalcerz, University of Bern

Session I: Bode and the Italian Art Market
Chair: Tabea Schindler, University of Bern

15.30
Patrizia Cappellini
Università degli Studi di Udine
‘Affari importanti’, ‘piccole cose’ and More. Wilhelm von Bode and the Art Market in Florence… Beyond Bardini

16.00
Michela Zurla
Complesso Museale Palazzo Ducale di Mantova
Wilhelm von Bode and the Italian Art Market: The Case of Genoa

16.30 Discussion

16.45 Coffee break

Session II: Bode the Tastemaker
Chair: Daniela C. Maier, University of Bern

17.15
Neville Rowley
Gemäldegalerie and Bode Museum, Staatliche Museen Berlin
‘Interessa a prezzo moderato’: Bode Buys Donatello

17.45
Esmée Quodbach
Center for the History of Collecting, The Frick Collection, New York
Wilhelm von Bode and Johannes Vermeer: Creating a Taste and a Market

18.15
Peter H. Fox
Tulane University, New Orleans
Wilhelm von Bode and the Renaissance of German Design

18.45 Discussion

20.00 Dinner

Friday, 9 November 2018

Session III: Bode’s Social Network in the Art Market
Chair: Nikola Doll, Kunstmuseum Bern

10.00
Paul Tucker
University of Florence
‘The Right Man in the Right Place’: Wilhelm Bode and Charles Fairfax Murray

10.30
Meike Hopp
Zentralinstitut für Kunstgeschichte, München / Technische Universität Berlin
Bode and Böhler: The Controversial Relationship Between a Museum Director and an Art Dealer

11.00
Catherine Scallen
Case Western Reserve University, Cleveland
Wilhelm von Bode and Charles Sedelmeyer in 1882-1883: The Start of a Fateful Relationship

11.30
Petra Winter
Zentralarchiv der Staatlichen Museen zu Berlin
‘The Prices Were Completely Crazy.’ – W. Bode’s and W.R. Valentiner’s Activities at the American Art Market Between 1908-1914

12.00 Discussion

12.15 Lunch

Session IV: Bode as a Bad Actor in the Marketplace
Chair: Joanna Smalcerz, University of Bern

14.00
Lynn Catterson
Columbia University, New York
Duped or Duplicitous? Bode & Bardini’s Madonna della Rosa

14.30
Sebastian Dohe
Museumslandschaft Hessen Kassel
Malve Anna Falk
Independent Art Historian
Wilhelm von Bode and the Rise and Fall of the Grand Ducal Gallery of Oldenburg

15.00 Discussion

15.15 Coffee break

15.45 Final discussion

Reference / Quellennachweis:
CONF: Wilhelm von Bode and the Art Market (Bern, 8-9 Nov 18). In: ArtHist.net, Oct 10, 2018. <https://arthist.net/archive/19197>.

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