Maintenance work and the long life of materials in Medieval Art, Dr. Jessica Barker, University of York (In-Person & Online), 9 May 2023 5:30-6:45 PM BST/12:30-1:45 PM EST

Maintenance work and the long life of materials in Medieval Art

Dr Jessica Barker, The Courtauld Institute

Tuesday 9 May 2023, 5.30pm to 6.45pm BST/12.30 to 1.45 EST

Online & In-Person (Room K/133, King's Manor, Exhibition Square)
Admission: Free with Booking Required

Historians have rarely worried about the maintenance of things and materials, leaving this apparently mundane problem to conservators. This overlooks the simple fact that, just as we are surrounded by objects that are scuffed, scratched, dirty, or worn, so people in the past were required to confront the gradual material deterioration of the things they encountered in their everyday life.

Works of art are not necessarily any less subject to the processes of physical decay than more prosaic objects, although their pristine presentation in museums today masks such material vulnerability. Then, as now, slowing this process of deterioration could only be achieved through protective measures and regular maintenance. But whereas today this work typically takes place in the relative seclusion of the conservation studio, in the Middle Ages maintenance work often occurred in full public view, within the space of the church and sometimes even integrated into religious rituals.

In this lecture Jessica will explore an extraordinarily detailed set of maintenance instructions set down by an early sixteenth-century English bishop which offer a remarkable window onto the practicalities of historical conservation procedures, as well as metaphysical ideas about the transience of the material world. Drawing out some of the key themes from this maintenance program (its ritual performance, its analogies with medicine, its philosophical stakes) and placing them in dialogue with surviving artworks, she argues that maintenance work offers an instructive new perspective from which to consider the material turn, as well as a deeper point of connection between history, art history and conservation.

Book to attend in-person

Book to attend online

Jessica Barker is a specialist in medieval art, with a particular emphasis on sculpture. She studied at the University of Oxford and the Courtauld Institute of Art, where she was subsequently Henry Moore Postdoctoral Fellow. She joined The Courtauld in 2018, after two years as a lecturer in world art at the University of East Anglia. Jessica’s research ranges across northern Europe and the Iberian peninsula, addressing questions of the macabre, gender, materiality and the body.

Her prize-winning monograph, Stone Fidelity: Marriage and Emotion in Medieval Tomb Sculpture, explores the intersection of love and death in funerary art. She has published widely on death and commemoration, with articles in journals including Art History, The Burlington Magazine, Gesta, and The Sculpture Journal.

Her current projects include co-curating an exhibition exploring measurement and regulation in medieval and contemporary art, entitled The Rule: Shaping Lives, Medieval and Modern, which will open at the Sainsbury Centre for Visual Art in 2026. This lecture relates to her next book project on time and materiality in late-medieval art, part of which is due to be published in Art Bulletin in Autumn 2023.

Contact: cms-office@york.ac.uk

Call for Papers: There Will Be Blood: The Medieval Blood Conference, c. 1000-1450, King's College Cambridge (13-14 October 2023), Abstracts Due By 7 June 2023

Call for Papers

There Will Be Blood: The Medieval Blood Conference, c. 1000-1450

King’s College Cambridge, 13-14 October 2023

Abstracts Due BY 7 June 2023

Medieval blood was life and death, sickness and health, salvation and damnation, brotherhood and otherhood. Blood was at the beating heart of many traditions of medieval thought, which this conference will explore over two days of stimulating panels and discussion at King's College, Cambridge. The theme is both rich and inherently interdisciplinary, and we warmly invite speakers from various backgrounds with interests including but not limited to the following areas over the period c.1000-C.1450:

• Devotional literature

• Medieval medical theory and practice

• Visual depictions of blood

• Kinship and consanguinity

• Blood in apocalypticism

• Menstrual blood

• Eucharistic theology

If you would like to contribute a paper, please send an abstract of up to 300 words by 7th June to medievalbloodconf@gmail.com; we look forward to hearing from you!

For a PDF of the Call for Papers, click here.

Call for Papers: Mary Jaharis Center for Byzantine Art and Culture Sponsored Sessions, 59th International Congress on Medieval Studies, Kalamazoo (9-11 May 2024), Abstracts Due 15 May 2023

Call for Papers

Sponsored Sessions By the Mary Jaharis Center for Byzantine Art and Culture

59th International Congress on Medieval StudieS

Western Michigan University, Kalamazoo, 9-11 May 2024

Abstracts Due By 15 May 2023

To encourage the integration of Byzantine studies within the scholarly community and medieval studies in particular, the Mary Jaharis Center for Byzantine Art and Culture seeks proposals for a Mary Jaharis Center sponsored session at the 59th International Congress on Medieval Studies, Western Michigan University, Kalamazoo, May 9–11, 2024. We invite session proposals on any topic relevant to Byzantine studies.

Session proposals must be submitted through the Mary Jaharis Center website. The deadline for submission is May 15, 2023.

If the proposed session is approved, the Mary Jaharis Center will reimburse a maximum of 4 session participants (presenters and moderator) up to $800 maximum for scholars traveling from North America and up to $1400 maximum for those traveling from outside North America. Funding is through reimbursement only; advance funding cannot be provided. Eligible expenses include conference registration, transportation, and food and lodging. Receipts are required for reimbursement. Participants must participant in the conference in-person to receive funding. The Mary Jaharis Center regrets that it cannot reimburse participants who have last-minute cancellations and are unable to attend the conference.

For further details and submission instructions, please visit https://maryjahariscenter.org/sponsored-sessions/59th-icms.

Please contact Brandie Ratliff (mjcbac@hchc.edu), Director, Mary Jaharis Center for Byzantine Art and Culture with any questions.

Call for Papers: Hybrid CYCLE DE CONFÉRENCES: LES JEUDIS DE L’ART – 2023-2024, Catholic University of Paris Proposals Due By 30 May 2023

Call for Papers

Hybrid CYCLE DE CONFÉRENCES

LES JEUDIS DE L’ART – 2023-2024

Catholic University of Paris

Proposals Due By 30 May 2023

Mur-palimpseste, Ve-VIIIe siècles, Église Sainte-Marie-Antique (Rome)

Argumentaire – Se souvenir… ou pas ?

Pour la treizième année consécutive, les Jeudis de l’art, cycle de conférences en histoire de l’art gratuit et ouvert à tous, se dérouleront à l’Institut Catholique de Paris. Ils s’étendront sur les deux semestres de l’année universitaire 2023-2024 (entre octobre et avril). Dans le cadre des cursus de licence et de master de la Faculté des Lettres, ces rencontres régulières veulent apporter un complément aux enseignements généraux en abordant des sujets plus spécifiques, et créer un lieu d’échanges interdisciplinaires entre étudiants, enseignants et public extérieur.

Avec l’intitulé « Se souvenir… ou pas ? », nous souhaitons engager une réflexion sur la mémoire et son corollaire l’oubli, qu’il soit volontaire ou non. « Faculté qu’a l’esprit de fixer, de conserver et de rappeler des idées, des connaissances acquises, des évènements, des images, des sensations, des états de conscience antérieurs » 1 , la mémoire entretient avec l’art et les images une relation étroite. Dans la mythologie grecque, la titanide Mnémosyne est la déesse de la mémoire et la mère des neuf muses. Elle aurait inventé les mots et le langage, donné un nom à toute chose et donc la possibilité de s’exprimer et concevoir sa place dans le monde. Ses filles, quant à elles, présidaient aux arts, formes d’expression plus complexes et capables de donner corps à des pensées autrement informulables. Au IVe siècle avant notre ère, Platon, théoricien des idées et de la connaissance, considère que se souvenir, c’est conserver la trace de sensations imprimées dans la mémoire comme un sceau dans la cire. On ne se souvient pas on se « re-mémore », on ne connait pas on « re-connaît » ; c’est tout un processus de sensations donnant accès au monde des « Formes premières », aux archétypes de la connaissance.

En proposant des images, plus ou moins subjectives, plus ou moins partagées, sur lesquelles d’autres fonderont l’interprétation d’un récit, d’un évènement, d’une période, l’art est un principe actif de la mémoire. De ce point de vue, toutes créations artistiques ou découvertes archéologiques qui, d’une façon ou d’une autre, font vivre un souvenir, revivre un évènement ou survivre une trace transmise à travers le temps, de façon continue ou discontinue, participent d’une forme de mémoire individuelle et/ou collective. Nous souhaitons justement comprendre quels rapports l’humanité a entretenu avec cette notion. Quels 1 Centre National de Ressources Textuelles et Lexicales [En ligne]. Disponible sur https://www.cnrtl.fr/definition/academie9/mémoire. Mur-palimpseste, Ve-VIIIe siècles, Église Sainte-Marie-Antique (Rome) ont été les outils artistiques pour l’inscrire dans une sorte « d’éternité du souvenir » ? Quelles traces perdurent ou sont retrouvées, témoignant des croyances et des valeurs des sociétés à travers les âges ? Dans l’Atlas Mnémosyne (1921-29), Aby Warburg interroge les liens formels entre différentes images et souligne, ce faisant, l’idée d’une mémoire iconographique persistante. Plus récemment, les recherches entreprises par Frances A. Yates dans L’art de la mémoire (traduction française, Gallimard, 1987) étudient la façon dont a été conceptualisé « l’art de la mémoire » durant l’Antiquité, le Moyen-Âge et la Renaissance. Quelles réponses chacune de ces périodes a-t-elle apportées à la question « comment avoir une ‘’bonne’’ mémoire ? ». Ainsi, notre volonté n’est pas de se limiter aux œuvres purement commémoratives, comme peuvent l’être très concrètement les monuments funéraires, mais de penser la mémoire, les souvenirs et même l’oubli à travers l’art dans toutes ses formes.

Enfin, nous souhaitons nous pencher sur les mécanismes de l’oubli et de l’invisibilisation, quel qu’en puisse être les raisons. Le damnatio memoriae ou la cancel culture, les multiples formes de détournements involontaires ou d’appropriations abusives, sont autant d’exemples d’interventions directes sur la mémoire. Qu’ils s’agissent de rectifications argumentées ou de manipulations intéressées, la mémoire est un choix du présent qui constitue le terreau fertile de l’avenir. Nous pouvons alors nous interroger : qui et que doit-on commémorer ou pas ? Et qui décide de cela ? L’art doit-il célébrer, rendre compte, dénoncer, faire oublier ? Ou peut-il se contenter de n’être qu’un simple document ?

Autour de ces grandes lignes, nous souhaitons ouvrir notre propos à toutes études sur le travail de la mémoire, de la trace et de l’oubli. Les communications attendues pourront porter, de façon non exhaustive, sur l’archéologie (toute période confondue), les techniques de conservations et de restaurations, les différents domaines de l’art (architecture, sculpture, peinture, littérature, …), la création artistique (qu’elle soit contemporaine ou non), l’histoire, la philosophie, la psychologie, etc., à toute époque (de la période antique au monde contemporain) et toute aire géographique confondue (de l’Asie à l’Amérique, en passant par Byzance et l’Afrique).

Organisation du cycle

Quatre séances sont prévues, de 18h30 à 20h, (à savoir les jeudis 12 octobre et 16 novembre 2023, 8 février et 14 mars 2023) en hybride (ou uniquement en distanciel, si les conditions sanitaires l’exigent). Elles permettront à deux ou trois intervenants de se retrouver autour d’une thématique commune que nous déterminerons en fonction des propositions reçues. Le but est de créer une discussion entre les différents participants, mais aussi avec le public. D’ailleurs, pour permettre à ce dernier de prendre part au débat plus aisément, nous mettons à sa disposition sur notre page dédiée sur le site internet de l’Institut catholique de Paris (www.icp.fr) des éléments d’informations qui lui donneront certaines clés de compréhension, et par la suite d’approfondissement, pour aborder de tels sujets. Une séance (dont la date reste encore à déterminer) se déroulera, toujours en hybride, sur le nouveau campus de l’ICP à Rouen. A la suite des conférences, avec l’accord des intervenants, un enregistrement vidéo de la séance sera temporairement mis en ligne sur la chaîne YouTube de l’ICP pour le public n’ayant pu se libérer le jour-même. Les intervenants pourront également demander à récupérer, pour archive personnelle, l’enregistrement vidéo de leur communication. Enfin, les intervenants le désirant seront invités à présenter le texte de leur communication pour publication électronique sur le carnet Hypothèses des Jeudis de l’art (en cours de création). Cette publication sera soumise à l’accord d’un comité scientifique et d’une double relecture à l’aveugle. Les règles générales seront spécifiées au moment de la confirmation des participations et de la validation du programme du cycle.

Conditions de soumission

Toutes propositions de communication, tant de chercheurs confirmés que de jeunes docteurs et doctorants, sont bienvenues. Étant donné le sujet abordé, historiens de l’art, archéologues, conservateurs, restaurateurs, architectes, plasticiens, mais aussi historiens, philosophes, et autres, sont attendus dans la mesure où les présentations sont issues de leurs spécialités de recherche et/ou de pratique. De même, le cycle se situe dans une approche transpériodique couvrant des aires géographiques variées du monde occidental à l’Orient chrétien, de l’Asie au Proche Orient etc. N’hésitez pas par ailleurs à nous proposer la communication d’un collègue ou d’une connaissance qui puisse mettre en relief les problématiques que vous aborderez. Chaque intervention devra durer 20 minutes environ. En fin de séance, une discussion avec les auditeurs et les autres acteurs de la séance permettra d’approfondir les thématiques abordées. Les intervenants devront tenir compte du public, mêlant auditeurs libres et étudiants de licence et de master, et adapter leur discours en conséquence. Toute personne intéressée peut envoyer son projet de communication (CV réduit/courte biographie + synopsis d’une page maximum), par voie électronique, à l’adresse suivante : jeudisdelart@icp.fr, avant le mardi 30 mai 2023. Merci également d’indiquer les possibles dates auxquelles vous ne pourriez pas être présent et de prévoir une image libre de droit qui pourrait illustrer l’affiche de votre séance et si vous étiez dans l’impossibilité de participer à la séance sur le campus de Rouen. Pour toute question supplémentaire, nous sommes à votre disposition par mail.

Comité scientifique

Les propositions de conférences seront examinées par les organisateurs du cycle de conférences :

Pierre-Emmanuel PERRIER de La BÂTHIE (docteur en histoire de l’art contemporain et chargé d’enseignement à l’ICP).

Élisabeth RUCHAUD (docteur en histoire de l’art médiéval et chargée d’enseignement à l’ICP et à l’École du Louvre).

Margaux SPRUYT (docteur en histoire de l’art du Proche-Orient ancien et chargée d’enseignement à l’ICP, membre associée à l’UMR 8167 – Orient et Méditerranée).

François MOUREAUX (étudiant de L3 histoire de l’art, ICP).

Outre la qualité scientifique des propositions et des intervenants, nous nous attacherons également à sélectionner des interventions complémentaires au sein de chacune des quatre séances prévues, afin de créer une dynamique favorable aux échanges.

Call for Papers: ART(S) ET CARTOGRAPHIE(S), INHA - Salle Vasari, Paris (25 November 2023), Proposals Due By 30 April 2023

Call for Papers

ART(S) ET CARTOGRAPHIE(S): JOURNÉE D’ÉTUDES DE LA COMMISSION D’HISTOIRE DU COMITÉ FRANÇAIS DE CARTOGRAPHIE

Samedi 25 NOVEMBRE 2023

INHA – SALLE VASARI

Proposals Due by 30 April 2023

La Commission Histoire du Comité Français de Cartographie organise le 25 novembre 2023 une Journée d’études intitulée « Art(s) et cartographie(s) ». Par-delà les études classiques sur la place spécifique de la cartographie dans l’histoire des savoirs scientifiques, et les analyses répétées sur les engagements de la cartographie (et des cartographes) dans diverses opérations politiques, il est nécessaire d’envisager les relations de la cartographie avec les arts et les artistes ainsi que ses formes d’implication dans les cultures visuelles des sociétés modernes et contemporaines. Les recherches sur ce sujet sont déjà nombreuses, et fructueuses, et ont permis d’établir de façon décisive les multiples niveaux et formes d’interaction entre les mondes de la cartographie et les mondes de l’art.

Cette Journée d’études souhaiterait être l’occasion de rassembler et de confronter quelques-unes des pistes principales de la recherche actuelle et, en ce sens, elle accueillera des propositions dans plusieurs directions :

1/ Les artistes et la cartographie

Les artistes, depuis longtemps, ont mobilisé la cartographie dans leurs œuvres et ont eux-mêmes dessiné des cartes. Des peintres furent impliqués à la Renaissance dans la réalisation des cartes à grande échelle ; les « pourtraiteurs » au service des corps de ville ont pleinement participé au renouvellement de la cartographie urbaine et de la chorographie à l’époque moderne ; les ingénieurs des Ponts et Chaussées au XVIIIe siècle étaient formés à la cartographie comme au dessin de paysages. Aujourd’hui, de nombreux artistes font de la cartographie un domaine d’investigation privilégié. Ils et elles conçoivent des cartes, ou bien utilisent des cartes déjà faites, les transforment, les assemblent, ou les insèrent dans leurs œuvres. La cartographie est un champ d’actions artistiques très variées et, parfois même, une forme de l’art. On aimerait, au cours de cette Journée d’études, réunir des contributions qui viendraient à la fois illustrer et interroger cette longue fréquentation des artistes et de la cartographie. Les propositions peuvent aborder les périodes les plus anciennes comme les contemporaines.

2/ La cartographie et les métiers d’art

De façon plus spécifique, on aimerait aussi interroger les circulations professionnelles, les transferts et transmissions de pratiques, entre art et cartographie, là encore sur un temps long. Quels sont les métiers d’art impliqués dans les opérations de fabrication des cartes ? Comment, par exemple, s’articulent en termes de pratiques et d’identités professionnelles, les intentions scientifiques, informationnelles, et les motivations décoratives, ornementales, ou symboliques ? Ou bien, autre exemple, peut-on dégager la présence de « styles » ou d’« écoles » dans l’écriture des cartes ? Ou encore, peut-on repérer les trajectoires par lesquelles les cartes sont introduites, reproduites et mobilisées dans les entreprises de divertissement et plus généralement dans les cultures visuelles de leur époque ?

3/ Cartographie, collections, et marché de l’art

Les cartes sont des objets, parfois luxueux, souvent conservés et exhibés (ou au contraire dissimulés) comme des pièces précieuses. Et, à cet égard, elles sont recherchées par des spécialistes, des amateurs, des collectionneurs fortunés, mais aussi des institutions publiques de conservation et de documentation. Autrement dit les cartes, au-delà de leur dimension cognitive, ont d’autres valeurs, tout à la fois affectives, symboliques, patrimoniales, et marchandes, et à ce titre leur circulation dans le public dépend aussi des possibilités et des contraintes du marché. Cette Journée réunira des contributions qui voudront mener l’interrogation dans cette direction : la carte comme objet de collection, comme objet convoité, exhibé pour le prestige ou dissimulé à des fins de capitalisation. Elle aimerait mettre en lumière le rôle décisif des collectionneurs, curateurs, ou autres animateurs du marché, dans la circulation des objets cartographiques et, au-delà, des contenus de connaissance que ces objets véhiculent.

Modalités pratiques

Les propositions de communication (environ 1500 signes), accompagnées d’une courte biobibliographie, sont à envoyer à l’adresse suivante : catherine.hofmann@bnf.fr avant le 30 avril 2023. Le comité de sélection se réunira en mai et communiquera les résultats de l'appel à communication courant juin. Les communications retenues auront vocation à être publiées dans un numéro de la revue du Comité français de cartographie, Cartes & Géomatique, au courant de l’année 2024.

For more information, click here.

Colloquium: Une abbaye cistercienne et ses réseaux : Mazan (Ardèche), 900 ans d’héritage, Usclades-et-Rieutord, France (22-24 June 2023), Register By 15 May 2023

Colloquium

Une abbaye cistercienne et ses réseaux : Mazan (Ardèche), 900 ans d’héritage

A Cistercian Abbey and their Networks: Mazan (Ardèche), 900 Years of Heritage

La Ferme de la besse, Usclades-et-Rieutord, France (07510) & L'Abbaye
Mazan-l'Abbaye, France (07510)

Thursday, June 22, 2023 - Saturday, June 24, 2023

Register Before MAy 15, 2023

L’abbaye cistercienne de Mazan, dans l’ancien Vivarais, est la première fondation de l’ordre en Languedoc. À la tête d’un temporel éclaté dans le grand sud-est de la France actuelle, elle est aussi abbaye mère du Thoronet, Bonneval, Sylvanès et Sénanque. Elle semble avoir joué un rôle notable dans différents domaines, notamment politique, en facilitant l’implantation capétienne en Vivarais au XIIIe siècle. À l’occasion du 900e anniversaire de sa fondation, cette grande abbaye mal connue mérite une mise en commun des connaissances. Le renouvellement des études cisterciennes de ces 20 dernières années apporte un terreau fertile à des recherches croisées. Les approches paysagères (exploitation des ressources du sol, artisanat et proto-industrie), géo-archéologiques (fabrique des paysages et anthropisation des cours d’eau) partageront cette rencontre avec les problématiques spirituelles, institutionnelles, liturgiques et architecturales.

Programme

Jeudi 22 juin 2023

Accueil à partir de 9h00 à la Ferme de la Besse /07510 Usclades et Rieutord (où se tiendront toutes les communications sauf mention contraire)

9h30 Ouverture : discours officiels

Première session : Du Mas d’Adam à Mazan : origines d’une fondation monastique en Vivarais

Président de séance : Daniel le Blévec, professeur émérite, université Paul Valéry Montpellier 3, CEMM EA 4385/UMR 8584 LEM-CERCOR

• 10h00 Daniel Le Blévec - Introduction : les communautés régulières en Languedoc en contexte montagnard

• 10h30 Pierre-Yves Laffont (professeur d’histoire et d’archéologie médiévales, Université Rennes 2, UMR 6566 CReAAH) - Les confins du Vivarais et du Velay au tournant des XIe et XIIe siècles

• 11h00 Alexis Grélois (maître de conférences en histoire du Moyen Âge, Université de Rouen-Normandie, UMR 8584 LEM-CERCOR) - Qu’est-ce qu’une fondation cistercienne ? À propos du cas de Mazan

• 11h30 Justine Saadi (archéologue, ÉVEHA, chercheuse associée UMR ArAr 5138) - La concurrence monastique dans le diocèse de Viviers : les possessions de l’abbaye bénédictine de Saint-Chaffre du Monastier

• 12h00 Maël Suchon (docteur en Histoire du Droit, université de Montpellier) - L’abbaye de Mazan aux origines de l’implantation capétienne en Vivarais : le paréage de 1284

12h30 Discussion

13h00 Pause

Deuxième session : Une économie monastique en contexte montagnard

Président de Séance : Benoît Rouzeau, maître de conférence en histoire et archéologie médiévale, université de Picardie Jules Verne Trame UR 4284

• 14h00 Emmanuelle Defive (maîtresse de conférence, université Clermont-Auvergne, UMR 6042 GEOLAB), Jean-Paul Raynal (directeur émérite, CNRS, UMR 5199 PACEA) - Autour de Mazan, au temps des moines

• 14h30 Laurent Haond, Anne-Marie Michaux (chercheurs historiens) - Le Livre des compositions ou cartulaire de l’abbaye de Mazan : un outil de gestion original d’une abbaye cistercienne à la fin du Moyen Âge

• 15h00 David Jouneau, archéologue (Unité Archéologie et Patrimoine Bâti de Haute-Savoie ; chercheur associé UMR ArAr 5138) - L’aile des convers de l’abbaye de Mazan et son évolution dans son contexte architectural

• 15h30 Colette Véron (docteure en histoire) - La grange du Cheylard (Aubenas) et ses aménagements hydrauliques

16h00 Pause

• 16h30 Franck Brechon (docteur en histoire et archéologie médiévales, chercheur associé université Perpignan Via Domitia - EA7397 CRESEM) - Une montagne aux moutons, le plateau vivaro-vellave et l’élevage monastique à la fin du Moyen Âge

• 17h00 Élodie Blanc (historienne), Émilie Comes-Trinidad (archéologue, chercheuse associée UMR ArAr 5138) - La Maison Basse de la chartreuse de Bonnefoy

17h30 Discussion

Départ vers l’Abbaye de Mazan

18h30 Visite de l’abbaye de Mazan

20h00 Apéritif dînatoire musical de bienvenue

Vendredi 23 juin 2023

Accueil à partir de 8h30

• 09h00 Thomas Poiraud (archéologue, coprésident des cisterciens en Rouergue) - Les premières années de l’abbaye de Bonneval ou les bases d’un réseau temporel efficace

• 09h30 Alain Douzou (professeur agrégé d’histoire), Bernard Léchelon (chercheur associé UMR 5608 TRACES) - Monachisme et entreprise : le cas de l’abbaye de Sylvanès

10h00 Pause

Troisième session : La force d’un propos de vie. Une réforme et son expression architecturale

Présidente de séance : Anne Baud, professeure en archéologie médiévale, université Lumière Lyon 2, UMR 5138 ArAr

• 10h30 Thierry Pécout (professeur d’histoire médiévale, Université Jean Monnet, directeur du CERCOR, UMR 8584 LEM, Saint-Étienne) - Les cisterciens, le service de l’Église et du prince en Provence (XIIe-XIVe siècles)

• 11h00 Emma Bouvard-Mor (archéologue, service régional de l’archéologie ARA, UMR 5138 ArAr) - Les moniales vellaves dans l’orbite de Cîteaux

• 11h30 Annick Clavier (archéologue, conservatrice du patrimoine, Département de l’Isère), Joëlle Tardieu (archéologue, chercheuse associée UMR ArAr 5138). - L’abbaye de Bonnevaux retrouvée

12h00 Discussion

12h30 Pause

• 14h00 Francesco Flavigny (ACMH) - Une spécificité de l’architecture de cloîtres en pays de montagne

• 14h30 Nathalie Molina,( Inrap, LA3M, UMR7298, Aix-Marseille Université) « L’enclos de l’abbaye de Silvacane (Bouches-du-Rhône) à la lumière de découvertes archéologiques ponctuelles »,

• 15h00 Andréas Hartmann-Virnich (professeur d’histoire de l’art et d’archéologie médiévales, Aix-Marseille Université - UMR 7298 LA3M), Heike Hansen (archéologue du bâti, chercheuse associée UMR 7298 LA3M) - Construire l’abbaye de Sénanque. Enquêtes archéologiques sur le chantier d’une abbaye cistercienne provençale

15h30 Pause

• 16h00 Sylvain Demarthe (maître de conférences en histoire de l’art médiéval, université Paul Valéry Montpellier 3, CEMM EA 4385) - Le cloître de l'abbaye de Sénanque et son décor sculpté

• 16h30 Marion Alvergnat (doctorante en histoire de l’art médiéval, université Paul Valéry Montpellier 3, CEMM EA 4583) - L’abbaye de Sylvanès, un monument cistercien de transition

17h00 Discussion

• 17h30 Martin de Framond (conservateur général du patrimoine, ancien directeur des archives départementales de Haute-Loire) - Conclusion

Samedi 24 juin 2023

Accueil à partir de 9h00

10h00 Atelier coordonné par le comité scientifique : Mazan et son environnement, quelles études à venir ?

12h30 : Pique-nique sorti du sac puis départ pour la carrière de Banne à Mazan-l’Abbaye.

13h00Visite de la carrière

15h00 Fin du colloque

Comité d’organisation

Elodie Blanc, Laurent Haond, association Liger

Comité Scientifique

Anne Baud, Élodie Blanc, Emma Bouvard-Mor, Franck Bréchon, Alexis Grélois, Laurent Haond, Pierre-Yves Laffont, Thierry Pécout

Informations pratiques

Inscriptions avant le 15 mai 2023 : https://docs.google.com/forms/d/1FgtcU8vgsbuKBq8epwBz9642hh4qI33K-WpNw_R7ZOE/edit

Localisation gps de la Ferme de la Besse :

https://www.google.com/maps/dir//ferme+de+la+besse/data = !4m6 !4m5 !1m1 !4e2 !1m2 !1m1 !1s0x12b4c5ee9fc0867b :0x63bd39ff38ea1565 ?sa =X&ved =2ahUKEwje1vrZ5druAhWiuXEKHYgoC1oQ9RcwC3oECBMQBA

Call for Papers: Euro-Mediterranean Entanglements in Medieval History, Online seminars organised by the German Historical Institutes of Paris and Rome, Due BY 1 June 2023

Call for Papers

Euro-Mediterranean Entanglements in Medieval History

Online seminars organised by the German Historical Institutes of Paris and Rome

Proposals Due By 1 June 2023

Organisers: German Historical Institute of Paris/German Historical Institute of Rome

Location: Online Zoom

Date: Academic year 2023/2024

Language: English

Coordinators: Dr. Amélie Sagasser (DHI Paris), Dr. Kordula Wolf (DHI Rome)

The German Historical Institutes of Paris and Rome are continuing the online seminar series on "Euro-Mediterranean Entanglements in Medieval History". It focuses on sharing new ideas and perspectives. The sessions take place every two months and are addressed to both young and established scholars from all medieval disciplines. The aim is to create an international and interdisciplinary forum where diverse topics and methodological approaches can be presented and discussed. We cordially invite interested researchers to send an abstract (1–2 pages) and short curriculum vitae (with list of publications, if possible) by June 1, 2023 to asagasser@dhi-paris.fr and wolf@dhi-roma.it.

Topics: The geographical area is deliberately not clearly defined and includes Europe, as well as the Mediterranean region in its broadest sense. Also comprised are interconnections between the Euro-Mediterranean area and other world regions.

The following topics are in focus:

• cross-regional, transcultural, and interreligious entanglements (processes/results)

• overlapping spaces: between geographic borders and cultural contacts

• social networks and interpersonal relations

• mobility and migration

• transfer, diffusion and adaptation (of ideas, knowledge and material objects)

Seminar schedule: The seminar focuses on exchange of ideas. Our speakers begin with a 10-minute keynote to present their ongoing or recently completed research, followed by a 10-minute commentary from a specialist. This will be the basis for the subsequent 40 minute discussion with the onlineaudience.

Dates: Tuesdays 5.00-6.00 PM CET

September 26, 2023

November 21, 2023

January 30, 2024

March 26, 2024

May 28, 2024

If you have any questions about the research seminar, please contact:

Amélie Sagasser (DHI Paris): asagasser@dhi-paris.fr

Kordula Wolf (DHI Rome): wolf@dhi-roma.it

NEW EPISODE OF THE ICMA ORAL HISTORY PROJECT!

ICMA Oral History Project

We are delighted to announce the latest epsiode in the ICMA Oral History Project, available at: https://www.medievalart.org/oral-history-project. The new episode features Jane Rosenthal being interviewed by Luke Fidler.

The J. Paul Getty Museum, Los Angeles, Ms. Ludwig XV 1, fol. 7v. Digital image courtesy of the Getty's Open Content Program

About the ICMA Oral History Project:
With the goal of preserving the unique stories and experiences of our longest-serving members and supporters, the ICMA Student Committee has launched the Oral History Project. Students interview members who have made significant contributions to the study of medieval art and the ICMA. In the interviews, these members reflect on their initiation into the field, their lifelong experiences as researchers, professionals, and peers, as well as their involvement in the organization. The recordings available here have been edited for clarity and length. Full recordings and transcripts are archived with the ICMA.

Interviews began in late 2020, conducted online due to restrictions on travel and face-to-face interaction. They continue to be recorded on a regular basis.

Interested in being an interviewer? Click here to sign up.

Call for Papers: Constructing Ancient Cities, Leibniz Centre for Archaeology (LEIZA - RGZM), Mainz, Germany (11-12 September 2023), Abstracts Due 16 April 2023

Call for Papers

Constructing Ancient Cities

11 & 12 September 2023

Leibniz Centre for Archaeology (LEIZA - RGZM), Mainz, Germany

Abstracts Due: 16 April 2023

Cities represent the end of a long process of development; they are constructed materially, socially and scientifically, regardless whether they have evolved organically or are planned as ex novo foundations. The construction of ancient cities can be linked to organisational, infrastructural, economic, social, political and cultural challenges from an emic perspective; from an etic perspective it poses, amongst others, questions in the area of history and theory of knowledge. Key questions are what it takes and what it means to build cities, and how cities and their construction are themselves constructed as objects of knowledge. These various challenges have been discussed intensively in recent years in numerous individual disciplines ranging from ancient studies, art history, sociology to the history of knowledge, but mostly only in individual aspects or disciplinary contexts. The conference will bring together these different approaches and examine the construction of ancient cities interdisciplinary from three different perspectives:

1. How are ancient cities planned, designed, built and supplied? Which sources, methodological and theoretical approaches can be applied fruitfully? How has the perspective on these processes changed through the establishment of Digital Humanities and the inclusion of Big Data? How can ancient communities be better understood through the processes of construction and the accompanying social, economic and aesthetic decisions? For example, what role do construction techniques and materials play on the aesthetic perception of cities and their socio-cultural location?

2. How were cities and their construction negotiated or discussed in literature, epigraphy and visual culture? What role do foundations, reconstructions, ruins or the mise-en-scène of the building and supply processes play in different media? Can political, economic, social, religious or material decisions and the debates leading up to them be identified?

3. How have cities and their construction been and are modelled methodically, theoretically and as objects of knowledge? The construction of cities is not just a one-off, linear material process, but often involves iterative processes or non-linear transformations that take place in leaps. A number of different knowledge-historical and knowledge-theoretical practices can be taken into account here, which can range from classification systems and modelling to visualisations in diagrams, plans, 3D reconstructions, virtual reality, etc.

The conference will primarily focus on a period ranging from the Bronze Age to the Early Middle Ages, with an emphasis on the wider Mediterranean region. Papers are welcome from the fields of Classical Studies, Bauforschung, Art History, Human Geography, Sociology, and related disciplines that address one or more of the three central questions. Early career researchers are encouraged to apply. Presentations should last no longer than 20 minutes. A publication of the conference is planned.

Deadline for the submission of paper proposals (max. 300 words): Sunday 16th April 2023

Proposals for papers must be sent to: ppasieka@uni-mainz.de and mariachiara.franceschini@archaeologie.uni-freiburg.de

Scientific Organizers: Dr. Paul Pasieka and Dr. Mariachiara Franceschini

The organizers will arrange accommodation and cover travel costs for invited speakers. In order to facilitate the compatibility of research and family, childcare shall be made available if required. If you have any questions, please contact one of the organizers by E-mail (see below). Organizational context: Thematic Area 3 Urbane Verdichtung / urban agglomeration (Top-level Research Area 40.000 Years of Human Challenges at Johannes Gutenberg-Universität Mainz). The workshop is funded and supported by the Mainz Ancient Studies programme. Mainz Ancient Studies is part of the Gutenberg International Conference Center (GICC) at Johannes Gutenberg University Mainz (JGU). The GICC is funded through the German Research Foundation’s (DFG) university allowance in the Excellence Strategy program and aims at fostering JGU as a national and international research hub. By organizing regular conferences and workshops in fields of excellent JGU research, the GICC provides a platform to build interest networks and collaborations – to promote exchange and dialogue among academics and research groups from all over the world.

Event management: Kumi Kost-Raine (Mainz Ancient Studies)

CALL FOR PAPERS: The Forty-Ninth Annual Byzantine Studies Conference, Simon Fraser University, Vancouver (26-29 October 2023), Abstracts Due 14 April 2023

CALL FOR PAPERS

The Forty-Ninth Annual Byzantine Studies Conference

Simon Fraser University, Vancouver, BC

26-29 October 2023

DEADLINE: April 14, 2023

The Forty-Ninth Annual Byzantine Studies Conference (BSC) will be held at the Wosk Centre for Dialogue at Simon Fraser University in Vancouver from Thursday, October 26 to Sunday, October 29, 2023. The Local Arrangements Co-Chairs are Dimitris Krallis (Department of Humanities and SNF Centre for Hellenic Studies) and Lauren Gilbert, Simon Fraser University (Department of Global Humanities). This conference will be in-person only.

The BSC is the annual forum for the presentation and discussion of papers on all aspects of Byzantine Studies and on topics related to the field. Conference attendance is open to all, regardless of nationality or academic status. All conference attendees are encouraged to attend the annual Byzantine Studies Association of North America (BSANA) Membership Meeting on Saturday, October 28. To deliver your paper at the BSC, you must be a member of BSANA in good standing, enrolled in a graduate program at the time of submission, or hold a graduate degree. We encourage undergraduate attendance, but do not accept submissions from undergraduates. To join or renew your membership in BSANA, pay your dues according to your current status at: https://bsana.net/members/.

The Program Committee invites proposals for papers and thematic panels on all topics and in all disciplines related to Byzantine Studies, broadly construed. Paper proposals for the 2023 BSC may be submitted in the form of individual papers or as part of organized panels. Instructions for both are included below. Abstracts should be written to be accessible to a broad audience of readers on the Program Committee. All proposed papers must be substantially original and never have been published previously. Each contributor may deliver only one paper.

For more information on submission, formatting, types of submissions, the review process, and conference funding, see the call for papers and the BSANA website.

Call for papers: Movements and Transformations in the Making of Iberian and Latin American Art and Visual Cultures, Durham University (22-23 June 2023), Abstracts Due 13 April 2023

Call for papers

Movements and Transformations in the Making of Iberian and Latin American Art and Visual Cultures

Emerging Researchers Symposium

Zurbarán Centre for Spanish and Latin American Art, Durham University, UK

22-23 June 2023

Abstracts due 13 April 2023

Durham University’s Zurbarán Centre for Spanish and Latin American Art invites doctoral students and early career researchers to submit proposals for presentations at its annual Emerging Researchers Symposium, taking place in Durham between 22 and 23 June. This event aims to stimulate interdisciplinary conversations between international postgraduate students and early career researchers working on Iberian and Latin American art and visual cultures. It offers an opportunity for participants to discuss work-in-progress projects, to receive feedback, to learn about new research being carried out by colleagues, and to engage with leading keynotes given by established scholars and curators. The event will also offer opportunities to explore the significant holdings of Spanish art in County Durham.

We welcome proposals for 20-minute presentations focusing on the theme of ‘Movements and Transformations in the Making of Iberian and Latin American Art and Visual Cultures’. Proposals may relate to any aspects and periods of Iberian and Latin American art and visual cultures. Suggested topics may include (but are not limited to):

• The significance of labels of artworks, art movements and -isms in the Iberian and Latin American contexts

• The physical movements or migration of artists, artworks, materials, theories between different art worlds.

• The transformative power of art in political, religious and cultural debates and discourses.

• Polemics in artistic reception and thought, and the work of later generations in rethinking and reimagining artistic cultures of the past.

• The appropriation and repurposing of images and motifs to create works for new audiences and different communities.

• Innovation in artforms and techniques.

Organised by Durham University doctoral students, the symposium will be held as a hybrid event in Durham for in-person and remote attendees. We encourage speakers to attend in person as the event will include multiple opportunities for intellectual exchange and networking and visits to local collections, such as The Spanish Gallery in Bishop Auckland and the Bowes Museum. We are not however in a position to support travel or accommodation costs.

Please send a 250-word abstract and a brief biography as a word document to pg.zurbarancentre@durham.ac.uk by Thursday 13th April 2023, with the title Your Name-ERS2023-Proposal. Please also indicate whether you intend to attend the symposium in person or remotely. If you have any queries regarding the submission process, please do not hesitate to contact with us using the email provided.

ICMA IN LA: BEHIND THE SCENES AT FOREST LAWN MEMORIAL-PARK, GLENDALE, 29 APRIL 2023 9:30 AM - 4:30 PM

ICMA IN LA

BEHIND THE SCENES AT FOREST LAWN MEMORIAL-PARK, GLENDALE

STUDY DAY

SATURDAY, 29 APRIL 2023
9:30 AM – 4:30 PM

Did you know that Los Angeles’s most famous cemetery (home to Michael Jackson and Elizabeth Taylor, among others) is also one of California’s greatest monuments to medieval art and architecture? Founded in 1917, Forest Lawn Memorial-Park includes recreations and reinterpretations of medieval British and Italian architecture, replicas of numerous works of Italian Renaissance art, and — as memorialized in Madeline Caviness’s 1994 Speculum article, “Learning from Forest Lawn” — one of North America’s most extensive collections of medieval stained glass. Come discover this legacy through a behind-the-scenes tour of Forest Lawn’s buildings and art collection with curator James Fishburne and art historian Alison Perchuk and hands-on study of medieval and modern stained glass with Indre McCraw, master glass painter at Judson Studios.
 
When: 29 April 2023, 9:30 AM – 4:30 PM
 
Register HERE
 
Due to space limitations, this event is capped at 25 people.

Organizers: Dr. James E. Fishburne, Curator, Forest Lawn Museum, and Dr. Alison Locke Perchuk, Professor of Art History, California State University Channel Islands

Call for Papers: HERITAGE FOR A COMMON FUTURE - FUTURES FOR A COMMON HERITAGE, VI CHAM INTERNATIONAL CONFERENCE 2023 (12-15 July 2023), Lisbon, Abstracts Due 14 April 2023

VI CHAM INTERNATIONAL CONFERENCE 2023

HERITAGE FOR A COMMON FUTURE - FUTURES FOR A COMMON HERITAGE

12 - 15 JULY 2023  |   LISBON

Abstracts Due 14 April 2023

CHAM —Centre for the Humanities, of the NOVA University Lisbon and the Universidade of Açores, is pleased to invite the academic community to join the VI CHAM International Conference “Heritage for a Common Future / Futures for a Common Heritage”.

After long years of the covid-19 pandemic, conflicts, and crises affecting heritage, CHAM understands that it is about time to give space for a thoughtful debate on heritage studies and practices around the world headed on to the future (or futures!).

VI CHAM International Conference will be an in-person event to be held in Lisbon (exceptionally, consideration may be given to holding panels entirely online). The conference will be conducted in English. It will take place at Colégio Almada Negreiros, NOVA University Lisbon, from 12 to 15 July 2023.

A list of the panels with descriptions is available online.

Applications must be submitted online.

IMPORTANT DATES

Call for Panels: 05.12.2022 - 22.01.2023

Communication of Panels Acceptance: until 28.02.2023

Call for Papers: 06.03.2023 - 14.04.2023

Communication of Papers Acceptance: until 30.04.2023

Conference: CENTERS AND PERIPHERIES: THE GLOBAL PREMODERN, Texas Tech University, 20-22 April 2023

Texas Tech University Medieval & Renaissance Presents

CENTERS AND PERIPHERIES: THE GLOBAL PREMODERN

Texas Tech University

April 20-22, 2023

Keynote Presentations

The Triumph of Fashion in the Early Modern World (Virtual)

Ulinka Rublack, Department of History, University of Cambridge

&

Crafty Mobilities: Disabled Travel Writing and a Global Middle Ages

Jonathan Hsy, English Department, George Washington University

Map of the Commentaries on the Apocalypse of Saint John by Beatus of Liébana, circa 1086. Museum of the Cathedral of El Burgo de Osma, Soria, Cod. 1, fols. 34v-35r

Thursday, April 20, 2023 Museum of Texas Tech University 3301 4th Street

Session 1: Thursday, 12:30 pm – 2:00 pm

Panel 1A (Museum, Green Room)

Sharing Official Knowledge and Authority in Medieval and Early Modern Italy and Germany

Chair: Abigail Swingen, Dept. of History, Texas Tech University

“The Men of Santo Stefano: Witnessing and Identity in a Thirteenth-Century Monastery.” Lee Morrison, Dept. of History, Washington University, St. Louis

“From Peripheral Study to Center of Learning: Ancient Greek in Italy and Germany (1400–1550).” Justin Meyer, Dept. of History, Washington University, St. Louis and Sydnor Roy, Dept. of Classical & Modern Languages & Literatures (Classics), Texas Tech University

“Medical Pamphlets in Seventeenth-Century State-Building”
John Conrad, Dept. of History, Washington University, St. Louis

Panel 1B (Museum, Dressing Room) Gender and Politics

Chair: John Beusterien, CMLL (Spanish), Texas Tech University

“Political and Economic Theory in Cervantes ́ Exemplary Novels.”
Mia Clapp, Dept. of Classical & Modern Languages & Literatures (Spanish), Texas Tech University

“Life is a Dream: Re-casting a Spanish Golden Age play from a Feminine Perspective.” Yazarei Bazaldua, Dept. of Classical & Modern Languages & Literatures (Spanish), Texas Tech University

“No Damsel in Distress: From Rationality to Brute Force in Don Quixote’s Female Characters.” Nicolas Spencer and Marcus Valadares, Dept. of Classical & Modern Languages & Literatures (Spanish), Texas Tech University

2:00 – 2:15 pm, Coffee Break

(Outside Museum Green Room)

Session 2: Thursday, 2:15 pm – 3:45 pm

Panel 2A (Museum, Green Room) Cultural Adaptation Across Time I

Chair: Caroline Bishop, CMLL, Texas Tech University

“Paratemporality and Visuality: Sensory Training, Interpretive Force, and the Role of the Medieval Sensorium in Geoffrey Chaucer’s The Franklin’s Tale and Margaret Atwood’s The Handmaid’s Tale.”

Sylvie Monet Hansen, Dept. of English, University of Wyoming “From Carthage to Chaucer: Exploration of a Medieval Dido.” Lily Tun, Dept. of English, Texas A&M University, College Station

“Poe(tree) in The Pear Tree: Pregnancy, Disability, and the Semiotic in The Merchant’s Caitlyn Salinas, Dept. of English, Texas A&M University, College Station

Panel 2B (Museum, Dressing Room) The Bestial at the Border

Chair: Ben Poole, Dept. of History, Texas Tech University

“Blurring Ideals of Heroism and Markers of Monstrosity in The Ninth Hour: The Beowulf Story.” Kristen York, Dept. of English, Texas A&M, College Station

“Distance and Resistance: Measurement as Defense in the Old English Wonders of the East.” Brian McFadden, Dept. of English, Texas Tech University

“The Life of an Axolotl in Fray Bernadino de Sahagun’s General History of the Things of New Spain.” Fernando Martínez Caleano, Dept. of Classical & Modern Languages & Literatures (Spanish), Texas Tech University

“A Woman Werewolf and Scapegoat in Cervantes’s Persiles y Sigismunda.”
Esperanza González Moreno, Dept. of Classical & Modern Languages & Literatures (Spanish), Texas Tech University

4:00 pm – 5:30 pm, Texas Tech Centennial Lecture

Museum of TTU Auditorium

Welcome: Michael Borshuk, Director of the TTU Humanities Center Chair & Organizer: John Howe, Dept. of History, Texas Tech University

“Learning institutionalized: The Making and Re-making of University Education from Medieval Bologna and Paris to Modern Lubbock”

John van Engen, Emeritus, Dept. of History, Notre Dame University James C. Turner, Emeritus, Dept. of History, Notre Dame University

5:30 pm – 6:30 pm, Wine & Hors d’Oeuvres Reception

Museum of TTU Sculpture Court

Friday, April 21, 2023, TTU International Cultural Center (ICC) Indiana Ave, north of the Museum

8:00 am – 8:30 am, Morning Coffee

(Outside Conference Rooms A & B)

Session 3: Friday, 8:30 am – 10:00 am

Panel 3A (ICC, Conference A) Gendered Cultural Production (Hybrid)

Chair: Theresa Flanigan, School of Art (Art History), Texas Tech University

“Female Donors in Churches of Laconia after the Battle of Pelagonia Crusades and Imprisonment of the Prince of Achaia William II of Villehardouin.” (Virtual) Katerina Kiltzanidou, Dept. of History and Ethnology, University of Thrace, Greece

“Acts of Faith: The Aesthetics of Penance and Shame in The Spanish Empire, 1400-1700.” Kyna Bullard, Dept. of Classical & Modern Languages & Literatures (Spanish), Texas Tech University

“Unearthing New Voices: A Comparative Analysis of Gender, Religion and Disability in Teresa de Cartagena and Justitia Sengers.” Courtney Gragson, Dept. of History, Texas Tech University

Panel 3B (ICC, Conference B) Meaning and Materiality (Hybrid)

Chair: Sarah Cantor, CMLL (Italian), Texas Tech University

“Framing the Ideal City: Matter and Form in the Urbino Studiolo of Federico da Montefeltro.” (Virtual) Matan Aviel, Art History Dept., Hebrew University of Jerusalem

“Standing on Solid Ground: Turkish Carpets and the Making of English Identity at the Tudor Court.” (Virtual). Hannah Prescott, Dept. of Art History & Archaeology, University of Maryland

“Christian Frontality: Centering Vision as Mediator Between Time and Space.” Katharine Scherff, School of Art (Art History), Texas Tech University

10:00 am – 10:30 am, Coffee Break

10:30 am – 12:00 pm, Keynote Presentation ICC Auditorium

Welcome: Dr. Tosha Dupras, Dean of the College of Arts & Sciences, Texas Tech University Introduction: Dr. Jacob A. Baum, Dept. of History, Texas Tech University

“The Triumph of Fashion in the Early Modern World” (Virtual)

Ulinka Rublack, Dept. of History, University of Cambridge

12:00 pm – 1:00 pm, Lunch Break Session 4: Friday, 1:00 pm – 2:30 pm

Panel 4A (ICC, Conference A) Animate Materiality

Chair: Christopher Witmore, CMLL, Texas Tech University

“Listening at a Medieval Window: Plainchant and Paleography at the Periphery.” Jann Cosart, Director, Baylor Early Music Ensembles, Baylor University

“Audio divina: Reshaping an ancient practice for the contemporary artist.” Brad Cawyer, School of Music (Conducting), Texas Tech University

“Early Modern Machines and a Hermeneutics of Technology in Don Quixote.” Cory A Reed, Dept. of Spanish and Portuguese, University of Texas at Austin

Panel 4B (ICC, Conference B)
Worrying about Bodies (Hybrid)

Chair: Klinton Burgio-Ericson, School of Art (Art History), Texas Tech University

“Bodies that Matter: The Applications of Diagrammed Body in Global Medieval Cosmography and Geography.” (Virtual) Canchen Cao, Dept. of Medieval History, University of Glasgow

“Maimonides on Physician-Patient Relationships.” Juliana Izuno Thompson, History Dept., Binghamton University, New York

“Revisiting the Distant Past of the Hospital of Saint John in Brussels: Nuns, City Leaders, and Conflict.” Tiffany A. Ziegler, Dept. of History, Midwestern State University
“‘They Don’t Wear Breeches’ - Uncanny Cannibal Corporeality in the Early-Modern Contact.” Alexander LaGrand Henkle, Dept. of English, University of New Mexico

2:30 pm – 2:45 pm, Coffee Break Session 5: Friday, 2:45 pm – 4:15 pm

Panel 5A (ICC, Conference A) Revising Premodern Political History

Chair: Ryan Hackenbracht, Dept. of English, Texas Tech University

“Constitutionalism and the Image of God: The Political Theology Underlying Goślicki’s The Accomplished Senator.” David Mendoza, Westminster Theological Seminary & Walker Haskins, Universiteit van Amsterdam

“Thomas More in Egypt: Tawfiq’s Utopia and the Prospects of Revolution.” Ahmed N Muhammad, Dept. of English, Texas Tech University

“Power in Lesbos between Greece and Anatolia.” William Tortorelli, Dept. of Classical & Modern Languages & Literatures (Classics), Texas Tech University

“Unexpected Saviors: Viking Influence on the East Slavic Tribes.” Kelsey Davis, Dept. of History, Midwestern State University

Panel 5B (ICC, Conference B)

Cultural Exchange Across Time and Place

Chair: Theresa Flanigan, School of Art (Art History), Texas Tech University

“Altering the Altar: A Case Study in Greek-Etruscan Artistic Exchange.” Michael Anthony Fowler, Dept. of Art & Design (Art History), East Tennessee State University

“At the Periphery of the Carolingian Empire: Rethinking the Genoels-Elderen Ivories.” Riccardo Pizzinato, School of Art (Art History), University of Texas Rio Grande Valley

“Tracing a Mamluk Emblem in Early Modern Venetian Painting.” Caroline Koncz, Department of Visual & Performing Arts (Art History), Angelo State University

“Roman Art at the Borders of Europe. Karl von Lichtenstein-Castelcorno: A Moravian Patron’s Network in Late Baroque Rome (1670-1690).” Elisa Marangon, Dept. of Art History, Palacký University, Faculty of Arts, Olomouc (CZ)

Session 6: Friday, 4:30 pm – 5:30 pm

Panel 6A (ICC, Conference A)
Bringing Medieval History to Texas (Roundtable, Hybrid)

Chair & Organizer: John Howe, Dept. of History, Texas Tech University

Participants:
Bruce Brasington, Dept. of History, West Texas A&M University
Scott Buchanan, History Dept., South Plains College
John Howe, Dept. of History, Texas Tech University
Craig Nakashian, Dept. of History, Texas A&M University, Texarkana (virtual)
Lane Sobehrad, Coordinator of Research & Innovation, Lubbock Independent School

Panel 6B (ICC, Conference B)
Cultural Exchange: Pre-Modern Americas (Hybrid)

Chair: William Tortorelli, CMLL, Texas Tech University

“Spiritual Geographies of Resistance: Memory and Narrative in Caribbean Pilgrimages.” (Virtual) Felisa Baynes-Ross, English Dept., Yale University

“Exiles of Ashanti and Connemara: Afro-Irish movement and sound synthesis in the English Caribbean.” Christopher J Smith, Director, Vernacular Music Center, Texas Tech University

“The Turducken of Tusaya: Translational Maneuvers, Indigenous Agency, and the Interpretation of Hybrid Ceramics in Seventeenth-Century New Mexico.” Klinton Burgio-Ericson, School of Art (Art History), Texas Tech University

5:30 pm – 6:30 pm, Concert Performance, ICC Auditorium

“Centers & Peripheries”

TTU Collegium Musicum

Director: Angela Mariani, School of Music, Texas Tech University

Saturday, April 22, 2023, TTU International Cultural Center (ICC)

8:00 am – 8:30 am, Morning Coffee

(Outside Conference Rooms A & B)

Session 7: Saturday, 8:30 am – 10:00 am

Panel 7A (ICC, Conference A) Global Mapping (Hybrid)

Chair: Brian McFadden, Dept. of English, Texas Tech University

“Safar, Ishq, and the Traveling Sufi: Making of a ‘Sacred Geography.’” (Virtual)
Rhitama Basak, Dept. of Modern Indian Languages and Literary Studies, University of Delhi

“Social Space: Marco Polo and the Hereford Map.” (Virtual)
Guillermo Pupo Pernet, Dept. of Comparative Literature & Cultural Studies, University of Arkansas

“Reorientation in the Flyleaves: An Anglicized Map of the Itinerarium Kambriae and Descriptio Kambriae.” Sarah Sprouse, Dept. of English, Philosophy & Modern Languages (English), West Texas A&M University, Canyon

Panel 7B (ICC, Conference B) Gender and Power (Hybrid)

Chair: Erin-Marie Legacey, Dept. of History, Texas Tech University

“Female Voice in a Medieval Spanish Ballad and A Corrido from the Mexican Revolution.” Yunuen Velazquez, Dept. of Classical & Modern Languages & Literatures (Spanish), Texas Tech University

“Women’s Diji Hairstyle in the Ming Novel Jin Ping Mei: Translating Beauty and Symbol of Power in Classical Chinese Literature.” (Virtual) Meilong Liu and Jackie Xiu Yan, Dept. of Linguistics & Translation, City University of Hong Kong

“Mother, Virgin, or Prostitute? Silenced Desire in a Male Dominated Storyline.” (Virtual) Gabrielle Sunderman, Dept. of English, Texas Tech University

10:00 am – 10:30 am, Coffee Break

10:30 am – 12:00 pm, Keynote Presentation

ICC Auditorium

Welcome: Dr. Joseph A. Heppert, TTU Vice President for Research & Innovation Introduction: Dr. Julie Nelson Couch, Dept. of English, Texas Tech University

“Crafty Mobilities: Disabled Travel Writing and a Global Middle Ages”

Jonathan Hsy, English Dept., George Washington University

12:00 pm – 1:00 pm, Lunch Break

Session 8: Saturday, 1:00 pm – 2:30 pm

Panel 8A (ICC, Conference A) Identity in Centers and Peripheries

Chair: Judith Steinhoff, School of Art (Art History), University of Houston

“Melchizedek in Jerusalem, Egypt and Parma.” Ludovico Geymonat, Art History Dept., Louisiana State University

“A New Proposal for the Identification of Three Black African Figures in the Aix-Lehman Adoration Panel.” Eilis Livia Coughlin, Dept. of Art History, Rice University

“An African in the Arena Chapel, Padua: The Intersection of Christianity and Race in Giotto’s Fresco of the Mocking of Christ (ca. 1303-05).” Theresa Flanigan, School of Art (Art History), Texas Tech University

Panel 8B (ICC, Conference B) Slavery and Empire (Hybrid)

Chair: Linda Gosner, CMLL, Texas Tech University

“Serving wine, carrying gold: the image of African or Native American labors in seventeenth-century German cups.” Dasol Kim, Dept. of Art History, Rice University

“The Semantics of Trade, Empire and Resistance in the Depictions of Queen Nzinga of Ndongo.” (Virtual) Marcelo José Cabarcas Ortega, Dept. of Hispanic Languages & Literatures, University of Pittsburgh

“Trade, Colonization, and Empire: Financing the Financial Revolution” Abigail Swingen, Dept. of History, Texas Tech University

2:30 pm – 2:45 pm, Coffee Break

Session 9: Saturday, 2:45 pm – 4:15 pm

Panel 9A (ICC, Conference A)
Cultural Adaptations across Time II (Hybrid)

Chair: Katharine D. Scherff, School of Art (Art History), Texas Tech University

“On the (Baroque) Metaphorization Process: Starting from Federico García Lorca.” Paolo Tabacchini, Dept. of Classical Studies, Masaryk University of Brno (CZ)

“The Liminal Power of Women in The Legend of Pope Gregory.” Andrew Fields, Dept. of English, University of New Mexico

“Reading Motion in Anelida and Arcite.” (Virtual) Clint Morrison, Jr., Dept. of English, The Ohio State University

Panel 9B (ICC, Conference B)
Crossing Confini: Negotiating Medieval and Early Modern Gender Norms

Chair: Ryan Hackenbracht, Dept. of English, Texas Tech University

“What Borders Does Rosalia Cross, and Who Helped Her? An Analysis of the Vitae of Saints Rosalia and Agata.” Emily Jay, Dept. of Art & Design, Ohio Northern University

“Disobeying the Rules: Early Modern Prescriptive Literature and Women’s Disorderly Conduct in Shakespeare’s Othello.” Laura Koleva, Dept. of English, Texas Tech University

“The Armed Medusa: Protofeminist Snake Imagery in Fonte, Sarrocchi, and Marinella.” Sarah Cantor, Dept. of Classical & Modern Languages & Literatures (Italian), Texas Tech University

4:30 pm – 5:30 pm, Dramatic & Musical Performance, ICC Auditorium

“Our New Gold”

Paula Rodriguez & AURIC

6:00 pm – 7:30 pm, Wine & Hors d’Oeuvres Closing Reception

Hosted by Julie Nelson Couch

Afternoon Talk and Tour: Art in the service of faith?, Belle Smith, The National Gallery London, Room 9, 16 May 2023, 4:00-5:00 PM BST

AfterNoon Talk and Tour

Art in the service of faith?

The National Gallery London, Room 9

Tuesday May 16 2023
4 - 5 pm BST (drop-in)

Belle Smith tours the evolution of Franciscan and Dominican works at the National Gallery.

Detail from Leonardo da Vinci, 'The Virgin of the Rocks', about 1491/2-9 and 1506-8

Many of the older works in the National Gallery Collection were commissioned by religious orders such as the Franciscans and Dominicans. 

In response to our new exhibition, Saint Francis of Assisi, this talk and tour by Gallery Educator Belle Smith will explore the original location, function and meaning of these works and how these might have changed in the current Gallery context. 

Belle Smith is an artist and Gallery Educator who has worked in London museums and galleries for many years. She studied at Goldsmiths College and has an MA in the History of Art. She enjoys working with groups of all ages, from young children and teenagers to undergraduates and adults.

Although the event does not require booking, you will need to book a free Gallery entry ticket to gain admission to the National Gallery. We encourage you to book ahead of your visit. Please note, Gallery entry does not guarantee admission to this event. Places are available on a first come, first served basis. 

Online Lecture: The art of Francis and Clare, Dr. Joost Joustra and Dr. Siobhán Jolley, The National Gallery London, 22 May 2023 12:00-1:30 PM BST (7:00-8:30 AM EST)

Online Lecture

The art of Francis and Clare

Monday, 22 May 2023

12:00 - 1:30 pm BST (7:00 - 8:30 AM EST)

On Zoom

Curators Dr. Joost Joustra and Dr. Siobhán Jolley explore depictions of Saint Francis and Saint Clare in the collection and beyond

Detail from Garofalo, 'The Virgin and Child enthroned with Saints', 1517

One of history’s most iconic figures, Saint Francis of Assisi, has long been the source of artistic fascination. His spiritual radicalism, commitment to the poor, and love of God and nature, as well as his powerful appeals for peace, and openness to dialogue with other religions makes him an enduringly inspiring figure. 

One of his earliest followers and founder of the order of Poor Clares, Saint Clare of Assisi, is perhaps less famous, but no less remarkable in her legacy. 

Join Dr Joost Joustra, the Ahmanson Research Associate Curator in Art and Religion, and Dr Siobhán Jolley, the Ahmanson Research Fellow in Art and Religion, for a 90-minute session exploring the multifaceted ways in which Francis and Clare are represented in the art of the National Gallery and beyond. 

This session will be accompanied by live speech-to-text transcription supported by Stagetext.

This is a free online talk, hosted on Zoom.  

Please book a ticket to access the talk. You will receive an E-ticket with instructions on how to access your online events, films and resources via your National Gallery account.   Please note, only one ticket can be booked per account. Bookings close one hour before the event. 

New Exhibition: Saint Francis of Assisi, The National Gallery London, 6 May 2023 - 30 July 2023

Saint Francis of Assisi

6 May 2023 – 30 July 2023

The National Gallery, London

Ground Floor Galleries

Detail from Francisco de Zurbarán, 'Saint Francis in Meditation', 1635-9 © The National Gallery, London

Come face-to-face with one of history’s most inspirational and revered figures in the first major UK art exhibition to explore Saint Francis of Assisi’s life and legacy.

Presenting the art and imagery of Saint Francis (1182–1226) from the 13th century to today, this exhibition looks at why this saint is a figure of enormous relevance to our time due to his spiritual radicalism, commitment to the poor, and love of God and nature, as well as his powerful appeals for peace, and openness to dialogue with other religions.

From some of the earliest medieval panels, relics and manuscripts to modern-day films and a Marvel comic, the exhibition shines a light on how Saint Francis has captured the imagination of artists through the centuries, and how his appeal has transcended generations, continents and different religious traditions.

It brings together paintings from the National Gallery Collection by Sassetta, Botticelli, and Zurbarán with international loans including works by Caravaggio, Josefa de Óbidos, Stanley Spencer, Antony Gormley, Giuseppe Penone, Andrea Büttner, and an exciting new commission from Richard Long.

This exhibition is curated by Gabriele Finaldi, Director of the National Gallery and Joost Joustra, the Ahmanson Research Associate Curator in Art and Religion at the National Gallery.

Ticket prices: Free - Please book a free Gallery entry ticket to gain admission to the National Gallery. We encourage you to book ahead of your visit. Members enjoy an exclusive preview day on 5 May. 

For more information, https://www.nationalgallery.org.uk/exhibitions/saint-francis-of-assisi

ELECTRIFYING! ELECTROFORMED REPLICAS OF ARTISTIC GOLDWORK, Interdisciplinary conference on the special exhibition of the Kunstgewerbemuseum, Schloss Köpenick, 16 June 2023 8:30 AM - 6:00 PM

ELECTRIFYING!
ELECTROFORMED REPLICAS OF ARTISTIC GOLDWORK

Interdisziplinäre Fachtagung zur Sonderausstellung des Kunstgewerbemuseums

Interdisciplinary conference on the special exhibition of the Kunstgewerbemuseum

FriDay 16 June 2023 8:30 AM - 6:00 PM

Schloss Köpenick

Detail: Coin cup from Lüneburg council silver, replica D. Vollgold & Sohn Silberwaren-Fabrik, Berlin, 1882 Galvanoplastic, copper precipitation; galvanically silver-plated and gilded, black inlay mass Inv. no. 1882,708 a,b © Staatliche Museen zu Berlin, Kunstgewerbemuseum, Foto: Uwe Schlüter, Fotodesign, Berlin

Program

08:30
Eintreffen

Sektion 1, Moderation Claudia Kanowski

09:00
Abbildungen und Nachbildungen von Goldschmiedearbeiten. Methoden und Zwecke
Lothar Lambacher, Kunstgewerbemuseum, Staatliche Museen zu Berlin

09:30
Überblick zu galvanoplastischen Versuchen und Herstellungsverfahren am Anfang des 19. Jahrhunderts
Jörg Freitag, Emerit. Leiter Studienrichtung Konservierung und Restaurierung - Metall, Fachhochschule Potsdam

10:00
Herstellung einer Galvanoplastik am Beispiel einer Münze
Jens Dornheim, Münzkabinett, Staatliche Museen zu Berlin

10:30
Pause

Sektion 2, Moderation Veronika Tocha

11:00
Le fac-simile le plus parfait? Überlegungen zur Qualität galvanoplastischer Nachbildungen am Beispiel der Union Centrale des Art décoratifs in Paris
Daniela C. Maier, Koller Auktionen AG, Zürich

11:30
Je monumentaler, desto besser: Galvanischer Tafelschmuck der Firma Christofle im Paris des Second Empire
Claudia Kanowski, Kunstgewerbemuseum, Staatliche Museen zu Berlin

12:00
Der Kurfürstenpokal aus dem Lüneburger Ratssilber. Goldschmiedearbeit und Galvanoplastik
Wibke Bornkessel, Kunstgewerbemuseum, Staatliche Museen zu Berlin

12:30
Mittagspause

Sektion 3, Moderation Wibke Bornkessel

13:30
Das Restaurierungsschicksal eines Meisterwerks. Zur historischen Bearbeitung eines griechischen bronzenen Klappspiegels aus dem 3. Jahrhundert v. Chr.
Tatiana Marchenko, Studium der Konservierung und Restaurierung von Archäologisch-Historisches Kulturgut, Hochschule für Technik und Wirtschaft Berlin

14:00
Galvanischer Niederschlag über Naturform – eine Galvanoplastik aus der Sammlung Karl Blossfeldts. Untersuchungen und Restaurierungskonzept
Maria Kuzminskaia, Freischaffende Restauratorin, Berlin

14:30
Im Dienst der ‚Wissenschaft des Spatens‘. Paul Telges galvanoplastische Nachbildungen des Hiddenseer Goldschmucks für Museen und Lehre
Charlotte Wenke NN

15:00
Pause

Sektion 4, Moderation Lothar Lambacher

15:30
Medienwechsel. Die „Schulmodelle“ des Berliner Kunstgewerbemuseums in der Sammlung der Gipsformerei
Veronika Tocha, Gipsformerei, Staatliche Museen zu Berlin

16:00
Die Erfüllung eines alchemistischen Traums? Ein kulturhistorischer Seitenblick auf die Galvanoplastik
Jörg Völlnagel, Generaldirektion, Staatliche Museen zu Berlin

16:30
Rundgang und Gespräche in der Sonderausstellung „Elektrisierend!“

18:00
Ende der Tagung

Organisatorische Hinweise 
Anmeldung: Eine formlose Anmeldung zur Tagung wird erbeten bis zum 6. Juni 2023 unter: kgm@smb.spk-berlin.de

Tagungsgebühren werden nicht erhoben.

Veranstaltungsort:
Kunstgewerbemuseum, Staatliche Museen zu Berlin
Schloss Köpenick
Schloßinsel 1
12557 Berlin
Verkehrsverbindungen:
S-Bahn: Spindlersfeld, Tram: Schloßplatz Köpenick, Bus: Schloßplatz Köpenick


Veranstaltungskooperation
Ebenfalls in Schloss Köpenick findet am 15. Juni 2023 die thematisch verwandte Tagung „Lernen am Objekt. Kunstgewerbeschulen und ihre Lehrmittelsammlungen“ des Forschungsnetzwerks „Pioniere der Designausbildung. Neue Perspektiven auf die deutschen Kunstgewerbeschulen vor dem Bauhaus“, Kunstgewerbemuseum / Design Campus, Staatliche Kunstsammlungen Dresden, in Kooperation mit dem Kunstgewerbemuseum der Staatlichen Museen zu Berlin statt.
Näheres finden Sie hier

For more information, https://www.smb.museum/en/events/detail/elektrisierend-galvanoplastische-nachbildungen-von-goldschmiedekunst-2023-06-16-083000-130452/

New Exhibition: Electrifying! Electroformed Replicas of Artistic Goldwork, Schloss Köpenick, Berlin, 28 April 2023 to 01 October 2023

Electrifying!
Electroformed Replicas of Artistic Goldwork

28 April 2023 to 01 October 2023
Schloss Köpenick, Berlin

Eagle vase of Abbot Suger of St. Denis, replica, Christofle & Cie., Paris, 1888 (original: before 1147) © Staatliche Museen zu Berlin, Kunstgewerbemuseum / Uwe Schlüter, Fotodesign, Berlin

At its exhibition space in Schloss Köpenick, the Kunstgewerbemuseum is showing a selection of some 100 electroformed sculptures from the museum’s holdings. The objects in question are 19th-century replicas of important pieces in the history of goldwork, which have undergone technical analysis and careful restoration over the past few years

In the mid-19th century, electroforming was as innovative as 3D printing is today. By way of an electro-chemical procedure, complex, three-dimensional gold objects were able to be reproduced, creating nearly identical metal copies in an electrolytic bath, and in large production runs to boot. The direct comparison between original and copy brings to light both the commonalities and the differences between them. In Vienna, from 1867 onwards, Carl Haas rose to prominence through his work at the electroforming studio of the Austrian Museum of Art and Industry, and in Berlin around 1875, it was the silverware manufacturer Vollgold & Sohn that was particularly active in this field for the Berlin Kunstgewerbemuseum.

This era also saw new developments in electroforming techniques. In England, the company Elkington & Co. began producing electro-chemically gilded tableware in 1836. Shortly thereafter, the Parisian company Christofle began to work with the technique. With his commissions of monumental centrepieces for his table settings, Napoleon III sent a clear message that France had joined the ranks of the industrialised nations and could now compete with the likes of England.

This exhibition looks at technical aspects, but also at aspects related to cultural history: the electroformed sculptures are a prime example of the enthusiasm for technology and the historical consciousness of the Industrial Age, and they also played a central role in the educational models of Berlin’s Kunstgewerbemuseum at its founding in 1867. The objective of founding the museum was to drive innovation in artistic production through the collection of historical artefacts of outstanding quality (and reproductions of the same). Even today, there are still numerous electroformed replicas in the museum’s collection that were fabricated during the museum’s early years.

Curators

This exhibition is a collaborative conservational and art-historical project, and is curated by Wibke Bornkessel, Claudia Kanowski and Lothar Lambacher.

Symposium

The exhibition will be accompanied by a symposium on Thursday, June 15, and Friday, June 16, 2023, at Schloss Köpenick.

A special exhibition by the Kunstgewerbemuseum – Staatliche Museen zu Berlin.

For more information, https://www.smb.museum/en/exhibitions/detail/electrifying/

Call for Papers: Echoes of Antiquity, International Interdisciplinary Conference, Warsaw (15 June 2023), Abstracts Due 16 April 2023

Call for Papers

ECHOES OF ANTIQUITY

International Interdisciplinary Conference

15-16 June 2023, Warsaw, Poland

Abstracts due 16 April 2023

We kindly invite specialists and young researchers from various disciplines to take part in the second edition of the interdisciplinary international conference „Echoes of Antiquity” which will take place at The University of Warsaw and The Royal Łazienki Museum in Warsaw, the 15–16th of June 2023. We invite scholars whose research concerns the tradition of ancient art, and the reception of Antiquity in disciplines such as archaeology, history, history of art, cultural studies, literary studies and other related disciplines.

Areas of interest for the 2023 edition include but are not limited to:

• Collections of plaster casts

• Reception of Antiquity in applied arts

• Architecture and urbanism

• Antiquity in modern culture

We are also happy to announce that the proceedings in every panel will be opened by the keynote speeches delivered by recognized specialists from various institutions: prof. Giuseppe Pezzini (University of Oxford), prof. Maria Fabricius Hansen (University of Copenhagen) and Astrid Nielsen (Staatliche Kunstsammlungen Dresden). Workshops and a tour of the uncovered historic foundations of the Saxon Palace, which will soon undergo the process of rebuilding, will also be organised for participants of the conference during the two days of the meeting.

The language of the conference is English. Proposals of maximum 300 words must be written in English and submitted via email to echoes@uw.edu.pl no later than 16th of April 2023. The list of accepted presentations will be announced by the end of April.

The conference is organised by The Faculty of Archaeology of the Warsaw University, The Royal Łazienki Museum, Pałac Saski Sp. z o.o. (the company tasked with rebuilding the Saxon Palace in Warsaw), and The University of Warsaw Museum.

Participation in the conference is free, and there is no registration fee.

The organising committee will be happy to answer all your questions at echoes@uw.edu.pl.

For more information, https://muzeum.uw.edu.pl/en/2023/03/21/echoes-of-antiquity-international-interdisciplinary-conference-2/