Call for Sessions: ASSOCIATION FOR ART HISTORY 2024 ANNUAL CONFERENCE, University of Bristol (3-5 April 2024), Sessions Proposals Due BY 30 June 2023

Call for sessions

ASSOCIATION FOR ART HISTORY 2024 ANNUAL CONFERENCE

University of Bristol, 3-5 April 2024

Session proposalS DUE BY Friday 30 June 2023

University of Bristol

2024 marks the fiftieth anniversary of the Association for Art History. We are delighted to announce that next year’s conference will be held in collaboration with the History of Art department at the University of Bristol.

The Association for Art History’s Annual Conference brings together international research and critical debate about art history and visual culture. A key annual event, the conference is an opportunity to keep up to date with new research, hear leading keynotes, broaden networks and exchange ideas.

The Annual Conference attracts around 400 attendees each year and is popular with academics, curators, practitioners, PhD students, early career researchers and anyone engaged with art history research. Members of the Association get reduced conference rates, but non-members are welcome to attend and propose sessions and papers.

Scope/Provocation

History of Art at the University of Bristol originally emerged from the Department of Modern Languages, and we continue to be particularly invested in an interdisciplinary approach to transcultural exchange, across a period ranging from the middles ages to the present day. With an increasingly global focus, accounting for histories often marginalised in visual art, our framework includes materials, objects, bodies and institutions. For a ‘history of art’ department not much older than the AAH itself, the association’s fiftieth anniversary represents an opportunity to reflect on the transformation – and diversification – of the field, and to chart its future together. We particularly invite session proposals that address the state of the discipline, as well as those that engage with the broad theme of cross-cultural exchange. 

Session Proposals

The 2024 Annual Conference is open to all, members and non-members of the Association for Art History. Anyone can submit a session proposal. Please include in your session proposal:

  • Title of your session proposals

  • Brief abstract (max 250 words)

  • Name of session convenor(s)

  • Affiliations (or if independent/freelance)

  • Email of session convenors

  • Social media accounts (optional)

Please refer to the CALL FOR SESSIONS 2024 guidance for details on what to  include in your session proposal, complete the SESSION PROPOSAL FORM 2024 and email it to: conference2024@forarthistory.org.uk by Friday 30 June 2023.

Key Dates

30 June 2023 - Sessions proposal deadline

28 July 2023 - Sessions confirmed and convenors notified  

September 2023 - Sessions announced on AAH website and social media

October-November 2023 - Call for papers

December 2023 - Session convenors select papers and contact speakers

31 January 2024 - Session and paper abstracts deadline

February 2024 - Tickets go online

3 -5 April 2024 - AAH Conference  


For more information, https://forarthistory.org.uk/events/cfs-association-for-art-history-2024-annual-conference/

British Archaeological Association Travel Grants, Applications Due 15 May 2023

British Archaeological Association

Travel Grants

Applications Due 15 May 2023

Applications for travel grants are invited from students registered on post-graduate degree courses (at M.A., M.Litt., M.St., M.Phil., and Ph.D. level). Grants of up to £500 are available to cover travel for a defined purpose (such as essential site visits, attendance at an exhibition/conference, short research trip, etc). The awards will be made twice yearly, with deadlines for applications on 15 March and 15 May.

Applicants are required to provide one reference, together with a timetable and travel budget, and the objective of the travel must fall within the Association’s fields of interest (as defined below). Applicants should either be registered at a UK University or be undertaking work on material from, in, or related to the art, architecture or archaeology of the British Isles. Applicants are also responsible for asking their nominated referee to forward a reference directly to the Hon. Secretary within one week of the closing date for applications.

An application form follows on the second page. Once complete, this should be sent as an email attachment to the Hon. Secretary on secretary@thebaa.org Funds are limited, so the awards are competitive. If successful, the Association expects candidates to write a short account (150-350 words) of the travel facilitated by the award that could be posted on the BAA website.

BAA STATEMENT OF INTEREST

The Association’s interests are defined as the study of archaeology, art and architecture from the Roman period to the present day, principally within Europe and the Mediterranean basin. The core interests of the BAA are Roman to 16th century. We only entertain applications that cover the 17th to 21st centuries if they are of a historiographical, conservationist or antiquarian nature and link back to the BAA’s core interests.
For more information, https://thebaa.org/scholarships-awards/travel-grants/

New Publication: God's Own Language: Architectural Drawing in the Twelfth Century, by Karl Kinsella, MIT PRESS, 13 June 2023

New Publication

God's Own Language: Architectural Drawing in the Twelfth Century

By Karl Kinsella

Published: June 13, 2023

Publisher: The MIT Press

Hardcover, 240 pp., 6 x 10 in, 44 b&w illus., 16 color plates

ISBN: 9780262047746

How modern architectural language was invented to communicate with the divine—challenging a common narrative of European architectural history.

The architectural drawing might seem to be a quintessentially modern form, and indeed many histories of the genre begin in the early modern period with Italian Renaissance architects such as Alberti. Yet the Middle Ages also had a remarkably sophisticated way of drawing and writing about architecture. God's Own Language takes us to twelfth-century Paris, where a Scottish monk named Richard of Saint Victor, along with his mentor Hugh, developed an innovative visual and textual architectural language. In the process, he devised techniques and terms that we still use today, from sectional elevations to the word “plan.”

Surprisingly, however, Richard's detailed drawings appeared not in an architectural treatise but in a widely circulated set of biblical commentaries. Seeing architecture as a way of communicating with the divine, Richard drew plans and elevations for such biblical constructions as Noah's ark and the temple envisioned by the prophet Ezekiel. Interpreting Richard and Hugh's drawings and writings within the context of the thriving theological and intellectual cultures of medieval Paris, Karl Kinsella argues that the popularity of these works suggests that, centuries before the Renaissance, there was a large circle of readers with a highly developed understanding of geometry and the visual language of architecture.

Karl Kinsella is a lecturer in art history at the University of Aberdeen, having previously held positions at the universities of York and Oxford. A specialist in medieval architectural history and manuscripts, he received the Hawksmoor Essay Medal in 2013 for his work on architectural drawing.

For more information, https://mitpress.mit.edu/9780262047746/gods-own-language/

XIII Colloquium Ars Mediaevalis 2023: Secular Knowledge in Medieval Art/Saberes seculares en el arte medieval, Aguilar de Campoo, 6-8 October 2023

XIII Colloquium Ars Mediaevalis 2023  

 Secular Knowledge in Medieval Art

Saberes seculares en el arte medieval

6-8 October 2023

Aguilar de Campoo, Spain

Dirección: Gerardo Boto Varela – Alejandro García Avilés – Herbert L. Kessler

A substantial part of the scientific knowledge developed in the Middle Ages was inherited from Roman (in Western Europe) and Greek (in the Byzantine and Islamic domains) culture. However, new cognitive procedures were also developed in medieval societies, among them some related to vision, astronomy or zoology. Knowledge of the secular world was translated and codified in the three domains of the Middle Ages (Latin, Greek and Arabic) through complex and varied visual devices. These ingenious images allow us to understand how the procedures of thought and memory were established. With these iconic creations, the most dynamic cultural centres sought to provide themselves with didactic and mnemonic tools to say, think or remember the universe, earthly creatures or celestial realities more efficiently. Both the European continent and the Mediterranean shores witnessed the fluid communication between different domains in order to advance in the knowledge of the created and populated space, translating, codifying or reinterpreting what others had proposed before, or else enlightening new formulas and channels to solve the questions of people who intensified their self-awareness.

 

Una parte sustantiva del conocimiento científico cultivado en la Edad Media fue heredado desde la cultura romana (en la Europa occidental) y griega (en los dominios bizantino e islámico). Sin embargo, en las sociedades medievales también se desarrollaron procedimientos cognitivos nuevos, entre ellos algunos referidos a la visión, la astronomía o la zoología. El conocimiento del mundo secular se tradujo y codificó en los tres dominios de la Edad Media (latino, griego y árabe) a través de complejos y variados dispositivos visuales. Esas ingeniosas imágenes nos permiten comprender cómo se establecían los procedimientos de pensamiento y memoria. Con esas creaciones icónicas los centros culturales más dinámicos procuraron proveerse de herramientas didácticas y mnemotécnicas para decir, pensar o recordar de modo más eficiente el universo, las criaturas terrenales o las realidades celestes. Tanto el continente europeo como las riberas mediterráneas fueron testigos de la fluida comunicación entre dominios diferentes para avanzar en el conocimiento del espacio creado y poblado, traduciendo, codificando o reinterpretando lo que otros habían propuesto antes, o bien alumbrando nuevas fórmulas y cauces para resolver interrogantes de unas personas que intensificaron su conciencia de sí mismas.

PROGRAMA

Viernes, 6 de octubre (Aguilar de Campoo: Sede Fundación Sta. M" la Real)

Presidencia de sesión: Alejandro García Avilés (Universidad de Murcia) 08.45 h.: Recepción de asistentes
09.15 h.: Presentación e inauguración del Coloquio

09.30 h.: Kathrin MUUer (Humboldt-Universitat, Berlin): Fundamental Knowledge. Personificotions of the artes liberales on High Medieval Liturgicol Objects
10.15 h.: Licia Butta (Universitat Rovira i Virgili): Lo danzo en los trotados morales y de cortesía y su visualización en el relato poético narrativo en lo Edad Medio

11.00 h.: Debate
11.30 h.: Pausa-café
12.0 0 h.: Comunicación/Free paper

12.20 h: Martín Schwarz (Universitat Basel): The Crucifixion Eclipse ond the /lluminotion of Philosophy in the Vie de Saint Oenis (BnF, fr. 2090)
13.05 h: Debate

Sesión de tarde (Aguilar de Campoo: Sede Fundación Sta. M" la Real) Presidencia de sesión: M1 Teresa López de Guereño (Universidad Autónoma de Madrid)
15.30 h.: Laura Fernández Fernández (Universidad Complutense de Madrid): Entre fábulas y estrellas errantes. Lo luna en el imaginario alfonsí 16.15 h.: Comunicación/Free paper
16.35 h.: Debate
17.15 h.: Visita al monasterio de Santa María la Real

Sábado, 7 de octubre (Saldaña. Villa romana La Olmeda)

Presidencia de sesión: Susana Clavo Capilla (Universidad Complutense de Madrid)
09.15 h: Desplazamiento en autobús a la villa romana La Olmeda
10.30 h.: Anna Caiozzo (Université d'Orleans): Entre images scientifiques, merveilles (terrestres) de la Créatian et imaginaires religieux
11.15 h.: Comunicación/Free paper
11.35 h.: Comunicación/Free paper
11.55 h.: Debate
12.30 h.: Visita a la villa romana La Olmeda
14.00 h.: Comida (a cargo de la organización)
16.00 h.: Visita al arte medieval de Cisneros

Domingo, 8 de octubre (Aguilar de Campoo: Monasterio Sta. M" la Real)

Presidencia de Sesión : Fernando Gutiérrez Baños (Universidad de Valladolid)
09.30 h.: Marius Hauknes (University of Notre Dame): Representing the Origins of Human Knowledge

10.15 h.: Hanna Wimmer (Universitat Hamburg): Visualising Lagic in the MiddleAges
11.00 h.: Debate
11.30 h.: Descanso

12.00 h.: Rosa Rodríguez Porto (Universidad de Santiago de Compostela): lncidentiae: Tiempo, espacio y sincronía en la historiografía medieval
12.45 h.: Debate
13.00 h: Conclusiones y perspectivas

13.15 h.: Clausura y entrega de certificados

For more information, click here.

Call for Papers: 2023 Southeastern Medieval Association Annual Conference, Construction and Reconstruction, Winthrop University (12-14 October 2023), Applications Due 15 June 2023

Southeastern Medieval Association (SEMA)

2023 Southeastern Medieval Association Annual Conference

Construction and Reconstruction

Winthrop University, Rock Hill, SC
October 12–14, 2023

Applications Due 15 June 2023

The mission of the Southeastern Medieval Association (SEMA) is to promote the study and enjoyment of the Middle Ages by students at every level of expertise. Professional and independent scholars from various branches of medieval studies—history, arts, science, philosophy, archaeology, paleography, theology, language, and literatures—make the Association’s annual meeting a forum for scholarly and pedagogical growth within those disciplines as well as a platform for interdisciplinary exchange and collaboration.

As we watch the new silhouette of Notre-Dame rising from the burned ruins of its past, participate in vigorous debates about how the study of the Middle Ages will be pursued now and in the future, and plan to meet on a campus where medieval buildings have literally been rebuilt, we invite proposals for individual papers, whole sessions, or round tables on the conference theme of “construction and reconstruction.” Papers might consider the notions of

  • How identities and places have been constructed in various periods of medieval history, literature, politics, art, and culture;

  • The ways in which medieval systems of belief, value, and thought have been constructed, deconstructed, appropriated, and/or reconstructed;

  • The relationships between form and construction (whether they be verse, literary, political, musical, architectural, artistic, ideologic, etc.);

  • Ways in which modern society, countries, organizations, and/or individuals have re-made the medieval in their modern images;

  • The ongoing debates about how we conceptualize, pursue, and further the study of the Middle Ages in the 21st century.

The organizers are extremely proud that Rock Hill was home to one of the earliest of the “sit-in” lunch counter protests that sparked the Civil Rights movement in the 1960s. The conference will be held only a few blocks where the Friendship Nine were arrested for their lunch counter sit-in in February 1960, and a short drive from the tribal lands of the Catawba Indian Nation. In respect of these important historical and cultural contexts, we particularly invite papers and panels that focus on the ways in which diverse and/or indigenous religious, social, physical, political, legal, and/or economic identities have been constructed and reconstructed in the Middle Ages and beyond.

Submission guidelines: Proposals for individual papers must be limited to 300 words. Complete session proposals must include an overview and abstracts for the 3-4 papers for the panel, or 5-8 bios and an overview for a roundtable, as well as the contact information for all presenters. The SEMA 2023 conference organizers welcome proposals from all medieval disciplines and geographical regions, but preference will be given to abstracts that pertain to the conference theme.

To access the application and for more information, click here.

British Archaeological Association Research Awards, Applications Due 1 June 2023

British Archaeological Association

Research Awards

Applications Due 1 June 2023

The BAA invites applications for research awards of up to £1,500. These are designed to assist those who might otherwise have difficulty in funding or completing a research project and is therefore not open to students registered on degree courses, or those in full-time employment for whom research is an expectation written into their employment contract. The awards cover research with a defined outcome, such as publication, mounting of an exhibition, scientific analysis (in the case of scientific and/or technical analysis, we require the results of the analysis to be publicly available). Research proposals for which some funding has already been obtained are eligible, though it should be shown that the additional funds for which you are applying to the BAA are sufficient to complete the research. Proposals contingent on additional future funding will not be supported. The deadline for applications is 1 June 2023.

Applicants are required to provide one reference, along with an anticipated research schedule and budget. The research proposal must fall within the Association’s fields of interest (as defined below). Applicants should either be ordinarily resident in the UK, or work on material from, in, or directly related to the art, architecture or archaeology of the British Isles.

An application form can be downloaded below. Once complete this should be sent as an email attachment to the Hon. Secretary on secretary@thebaa.org Funds are limited, so the awards are competitive.

BAA STATEMENT OF INTEREST
The Association’s interests are defined as the study of archaeology, art and architecture from the Roman period to the present day, principally within Europe and the Mediterranean basin. The BAA’s core interests run from the Roman era to the 16th century and embrace the study of these periods (historiographical, antiquarian, conservationist).

For the application and more information, click here.

Call for Papers: DIGITALLY MAPPING THE MIDDLE AGES, 2024 99th Annual Meeting of the Medieval Academy of America, Abstracts Due By 30 May 2023

CALL FOR PAPERS

DIGITALLY MAPPING THE MIDDLE AGES

2024 99th Annual Meeting of the Medieval Academy of America

Abstracts Due By 30 May 2023

Since the Spatial turn in the late 1980s, theorists and historians alike have championed the insights geospatial analysis can lend to historical research. The digital age produced a robust array of digital Geographical Information Systems (GIS) for just that purpose. And yet, the most significant obstacle most scholars interested in GIS face is knowing how to get started.

The papers in this panel chart, from start to finish, the process of mapping the Middle Ages. The panel brings together researchers from across disciplines to reflect upon the possibilities of spatial modes of analysis as well as the process for constructing digital visualizations of spatial relationships to advance historical arguments. Each panelist will present ongoing research that involves substantial digital visualizations, tracing their work from conception, to research design, to data collection, to visualization program selection, to modeling and analysis.

Panelists will candidly discuss their processes for turning messy historical evidence into refined datasets and digital visualizations. To make the panel widely accessible, the panelists will assume no specific knowledge of the digital humanities or experience with GIS. This panel questions how the process of spatial analysis and GIS outputs can aid in historical inquiry, particularly research into the medieval period.

Please send abstracts of no more than 250 words together with a short bio to Eileen Morgan (emwmorgan@nd.edu) and Brittany Forniotis (brittany.forniotis@duke.edu) by May 30. Please include your name, title, and affiliation.

Rituals of Power Through the Centuries at the Society of Antiquaries, Society of Antiquaries of London, Burlington House, London, 5 May 2023, 5:00-8:00 pm BT

Society of Antiquaries of London

Rituals of Power Through the Centuries at the Society of Antiquaries

5 May 2023, 5:00-8:00 pm BT

Burlington House, London

To coincide with the Coronation of Charles III on Saturday 6 May, we will be welcoming visitors to a rolling programme of show and tell sessions, tours, workshops, performances and demonstrations all exploring rituals of power through the ages.

Come and see some of our portraits of Kings and Queens and learn more about what a 1225 copy of the Magna Carta, the Great Seal of Henry VIII, Civil War pamphlets, and a colourful panorama of Queen Victoria’s coronation procession, among many others, tell us about rituals, symbols, and transfers of power.

Join us for sessions of Early Modern poetry and music. Fellow Linda Grant will be reading two poems, one each from the courts of Henry VIII and Charles II, by Thomas Wyatt and John Wilmot, Earl of Rochester – the latter extremely bawdy and obscene so adults only! Each reading will be accompanied by live music from the period – and we’ll consider how these poems might contest and subvert ideas of monarchy and authoritative power.

We are also offering activities to get creative and inky with lino block printing and the chance to create your own printed badge, postcard or tote bag to take away. We have commissioned lino cut replicas of ‘royal themed’ 18th-century printing blocks, which were used to illustrate the Society’s early publications. Visitors will be guided in inking one of these blocks to print onto their chosen object.

The programme of activities will be repeated on the hour throughout the evening to give people plenty of time to experience what the Royal Society of Chemistry, The Linnean Society of London and The Royal Astronomical Society have to offer.

Cocktails and victuals throughout the evening.

You can book your free time slot for this in-person event. Please note that each time slot will have the same activities so please only book one slot for yourself or one slot per person in your group as we expect this event to be over-subscribed.

Please note:

  • Tours will start on the hour, each hour. Places are limited to 20 and these will be allocated on a first come, first served basis, regardless of if you’ve registered to come.

  • The poetry readings contain graphic, sexual and explicit content that will not be appropriate for minors.

For those with accessibility needs, the show and tell session in our Library can be reached via our lift, which can fit one standard wheelchair inside it, without a carer.

To book your place at the other Society’s events please visit their websites: The Royal Society of Chemistry, The Linnean Society of London, The Royal Astronomical Society

If you have any questions, please contact us at communications@sal.org.uk and visit https://www.sal.org.uk/event/rituals-of-power/.

The 28th Postgraduate Medieval Symposium 2023: Intersections: Encounters with Medieval and Renaissance Textiles, 1100-1550, The Courtauld Institute of Art, London, 22 May 2023

The 28th Postgraduate Medieval Symposium 2023

Intersections: Encounters with Medieval and Renaissance Textiles, 1100-1550

MonDAY, 22 May 2023 09:00 - 18:30 BST

Lecture Theatre 2, The Courtauld Institute of Art, Vernon Square Campus, Penton Rise, London WC1X 9EW United Kingdom

During the Middle Ages and Renaissance, textiles wrapped up and coated walls, people, furniture, and objects. They provided omnipresent, and often complex, symbolic and visual demarcations of spaces. Diplicare, the root of display, is in unfolding: so much of the frameworks of how we surround ourselves are rooted in practices using cloth. The value of these textiles, both in their materiality and craftsmanship, exceeded that of many other artforms which have been privileged by scholars. Textiles were often disregarded in art historical study, considered to be visually unappealing or discredited in previous centuries as part of the decorative arts. In addition, only a fraction of the textiles that functioned in these spaces survive, many of which are in a fragmented state.

In recent years, textiles have received more attention in art historical studies, and block buster exhibitions on tapestries have made the importance of textiles clear to a wider public. There are, however, still many new angles from which we can interrogate and discuss textiles which can enrich, connect, and reframe not only textile history but wider research subjects in Medieval and Renaissance studies.

In this symposium we would like to draw together varying angles of research through their intersections with textiles, in whatever capacity. The theme of this symposium centres on how Medieval and Renaissance textiles, real and depicted, combine, overlap or intersect in different ways. In short, it aims to interrogate how textiles get entangled with other people, arts, materials, objects and functions.

Organised by Jessica Gasson (The Courtauld) and Julia van Zandvoort (The Courtauld). 

Generously supported by Sam Fogg.

To register: https://www.eventbrite.co.uk/e/postgraduate-medieval-symposium-2023-tickets-627081496637


Programme:

9.00 - Opening remarks

Secular Textiles

9.15 - 10:40 Panel 1 – Networks and trade /collecting of textiles

Key Note

Textiles, Piety, and Memory in Late Medieval Tuscany, Samuel Cohn

‘Per la gran furia di compratori’: Obtaining Flemish Tapestries in Sixteenth-century Italy, the case of the Van der Molen firm (1538-1544), Julia van Zandvoort

The ‘intersecting geographies’ of the tapestries of the Trojan War – tapestry production between Paris and Tournai, Nina Reiss

10.40-11.00 Panel discussion

11.00-11.30 Tea Break

11:35 - 13:00 Panel 2 – Textiles in secular settings

(Re-)Weaving Ritual Paths: Silk Textiles as Markers of Ceremonial Space in Late Medieval Venice, Chiara Stombellini

The stink of the cities - secondary scenting of domestic textiles in Europe, Pauline Devriese

Textile and glass interweaved. Entanglements of two arts in Renaissance Venice, Karina Pawlow

13.00-13.20 Panel discussion

13.20-14.20 Lunch break

Religious Textiles

14:25 - 15:50 Panel 3 – Textiles and ritual function / iconography

Tapestries on the altar: exploring the design and use of the Louvre Virign of the Living Water and the Sens Three Coronation tapestries, Jessica Gasson

Overlapping Incarnation and Consecration Textiles, Images and Gestures around the Cluny Museum’s Corporal Case (13th century), Julie Glodt

“The Garden of the Incarnation and the Conversion of the Heart: The Mass of Saint Gregory”, Aimee Clark

15.50-16.10 Panel discussion

16.10-16.30 Coffee break

16:35 - 17:55 Panel 4 – Reassembling Religious Textiles

Fragmentation and reconstruction of an embroidered altar frontal, Mireia Castano Martine

Many layers of textiles. The relic treasure of Herkenrode in Hasselt (Belgium) revealed through material technical research, Jeroen Reyniers

At the Intersection of Political and Ritual functions of textiles: Sensory Experiences of Textiles in the Sumtsek at Alchi, Ladakh, Jordan Quill

17.55-18.15 Panel discussion

18.15-18.25 Closing remarks

18.30 Wine reception

ICMA Book Salon: Writing the Middle Ages & the Renaissance for the Public: A Conversation with the Authors, 23 May 2023, 2PM PT/5PM ET (Zoom)

ICMA Book Salon 

Writing the Middle Ages & the Renaissance for the Public: A Conversation with the Authors 

Tuesday May 23, 2pm PT // 5pm ET

Zoom

Join us in conversation with authors Vanessa Wilkie and Elizabeth (Beth) Morrison, who will discuss the joys and challenges of working with the medieval and Renaissance periods in writing trade books rather than academic works or even those intended for the museum-going public. They will share their journeys to developing an authorial voice for the mass market and take questions from anyone who may be interested in this field outside of traditional career paths for pre-modern scholars.

Free but registration required.

Vanessa Wilkie is William A. Moffett Senior Curator of Medieval Manuscripts & British History and Head of Library Curatorial at The Huntington Library, Art Museum, and Botanical Gardens and author of the popular non-fiction book, A Woman of Influence: The Spectacular Rise of Alice Spencer in Tudor England.

https://www.amazon.com/Woman-Influence-Spectacular-Spencer-England/dp/1982154284

Elizabeth (Beth) Morrison is Senior Curator of Manuscripts at the Getty Museum and author of the medieval adventure novel The Lawless Land.

https://www.amazon.com/Lawless-Land-Sword-Honour/dp/1801108633

The Medieval Church: From Margins to Centre, University of York, 26-27 June 2023

The Medieval Church: From Margins to Centre

26-27 June 2023

University of York

Sponsored by the Centre for Medieval Studies and Department of History at the University of York (UK)

This interdisciplinary two-day conference brings together medievalists from across the disciplines of history, archaeology, art history and literary studies in order to explore the relationships between the Church and the marginalised in medieval society – minority genders and sexualities, racial minorities, disabled people, non-Christians, and the poor. Download the full programme as a PDF, or consult the plain-text version here.

This is a hybrid conference which will be held at the Humanities Research Centre, University of York on the 26-27 June 2023. It includes both in-person and online sessions, but all sessions will be broadcast live online and we welcome remote participation.

Registration is now open for the conference. There are three ticket rates: for those attending in-person, the cost is either £30 for the full rate, or £20 for unwaged/early career researchers/students. There is no charge for attending online, but you will need to register in order to receive the link to the livestream. Registration will close on 31 May.

The cost of registration covers includes tea/coffee and lunch on both days. The registration form includes a section for indicating any dietary preferences you may have. We will also be organizing a conference dinner on the 26 June which is not included in the registration; however, we will ensure we will keep costs affordable. Please complete the questionnaire included in the registration form by 30 April if you’d like to join the dinner.

We will be providing 10 x £30 bursaries for PhD students, early career researchers and independent scholars. If you wish to apply, please email Tim (tim.wingard@york.ac.uk).

If you’re joining us online:

  • All sessions will be available to watch and participate in online

  • Registration is free if you are joining us online only, but please sign-up here, selecting the free ticket option, by 15 June:

  • We will send out Zoom link and joining instructions a few days before the conference

Venue and accessibility information

  • The conference is being held in the Berrick Saul building, which is on Campus West, University of York.  A campus map can be found here.  There is step free access from both nearby car parks on campus and the nearest bus stop.

  • All sessions will be held in the Bowland Theatre (Room BS/005).  This is a tiered lecture theatre on the ground floor of the Berrick Saul building.  There is step free access to the lecture theatre, the room is wheelchair accessible, and the room has an induction loop hearing system.

  • Refreshments will be served in the Treehouse, on the first floor of the Berrick Saul Building.  There is a lift and the room is wheelchair accessible.  An induction loop hearing system is also available in the room.

  • Note: all times are British Summer Time (GMT+1). All sessions and the keynote will be broadcast live.

Note: all times are British Summer Time (GMT+1). All sessions and the keynote will be broadcast live.

PROGRAMME

Day 1 – 26 June

9:30–9:50 – Welcome and introduction (Bowland Theatre)

9:50–11:00 – Keynote lecture (Bowland Theatre)

John Arnold: ‘Southern France and Pastoral Reform: Heretical Margin or Orthodox Centre?’

Chair: Peter Biller  

11–11:30 – Coffee break (Treehouse)

11:30–13:00 – Session 1: Disability and the Church (Bowland Theatre)

Chair: Laura Atkinson

1a – Hegemonic Hagiography? Narrative, Rhetoric and Agency in Medieval Canonisation Depositions, Ed van der Molen

1b – Disability and the Icelandic Church in The Saga of Bishop Lárentíus, Ryder C. Patzuk-Russell and Yoav Tirosh

1c – Taking Care of their Own? Institutional Support for Poor Clerics in the Late Middle Ages, Hannah Wood

13:00–14:00 – Lunch (Treehouse)

14:00–15:30 – Session 2: Marginalising the Other (Bowland Theatre)

Chair: Emmie Rose Price-Goodfellow 

2a – Public opinion and the marginalisation of ‘heretics’ in southern France 1145–1209, Joshua Rice

2b – Kyiv monks about ‘them’: an image of the ‘others’ in medieval Rus, Andrii Kepsha

2c – The Catholic Church and the representations of the Muslims in the Kingdom of Castile during the thirteenth century, David De Pablo

15:30–16:00 – Coffee break (Treehouse)

16:00–17:30 – Session 3: Space, Travel and Marginality (Online, screened in Bowland Theatre) 

Chair: Tim Wingard

3a – Racialized Sacred Spaces: Narratives of Exclusion and Inclusion in Northern European Churches, Lorenz Hindrichsen

3b – Dionysius Fabricius in Livonia, Anastasija Ropa

3c – The Healing Journey from the Margins to the Centre In Twelfth-Century Miracle Narratives, Anne Bailey

17:30–18:30 – HRC drinks reception (TBC)

19:00 – Conference dinner (TBC)

Day 2 – 27 June

9:30–11:00 – Session 4: Monasticism and Marginalised Genders (Bowland Theatre)

Chair: Emma Nuding

4a – Enkindling Faith and Burning it Down: Endorsing Spiritual Struggles in Christina Mirabilis and the Nuns of Watton, Scott Harrower

4b – What Constitutes the ‘Outside’?: “Lesbian” Affection at the Heart of 12th and 13th century Spiritual Writing, Hannah Victoria Johnson

4c – An Example for Nuns or Monks? Joseph of Schönau and Transgender Possibilities in the Cloister, Emmie Rose Price-Goodfellow

11–11:30 – Coffee break (Treehouse)

11:30–13:00 – Session 5: Sexuality on the Margins (Bowland Theatre)

Chair: Hannah Victoria Johnson

5a – Sexuality in Crisis: Anxieties of Sodomy and Plague in the Fourteenth-Century English Church, Tim Wingard

5b – Divorce and Disability in Byzantium: Male impotence before ecclesiastical courts in 13th century Epirus, Romain Goudjil

5c – The Maternal Dilemma, Tracey Davison

13:00–14:00 – Lunch (Treehouse)

14:00–15:30 – Session 6: Global Christianities (Online, screened in Bowland Theatre)

Chair: Emmie Rose Price-Goodfellow

6a – Christian Minorities in Medieval Asia: Social Networks and Local Powers, Valentina A. Grasso

6b – Churches in Kochi: Symbols of Assimilation of Keralite community in the Christian fold, Lubna Irfan

6c – Establishment of Church at Mughal Agra: Socio-cultural exchange in a Heterogeneous Society, Mohammad Abdullah Raza

15:30–16:00 – Coffee break (Treehouse)

16:00–17:30 – Session 7: Agency of the Marginalised (Bowland Theatre)

Chair: Lawrence Duggan

7a – The Jewish Community of York in the Early Thirteenth Century: From Margins to City Centre, John Jenkins and Louise Hampson

7b – Sculpting the Margins in Danish and English Parish Churches: Looking Across the North Sea, Line M. Bonde and Meg Bernstein

7c – Climate of Care: Reconsidering Eaves-Drip Burial through Affective and Domestic Archaeology, Kate Bajorek

For more information, https://medreligion.wordpress.com/the-medieval-church-from-margins-to-centre-26-27-june-2023/

CFP, DUE 15 MAY 2023 - ICMA SPONSORED SESSIONS AT THE INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES 2024

Call for Proposals
ICMA at the International Congress on Medieval Studies   
Kalamazoo and Hybrid Format, 9-11 May 2024
due Monday 15 May 2023

The International Center of Medieval Art (ICMA) seeks proposals for sessions to be held under the organization’s sponsorship at the International Congress on Medieval Studies (ICMS) at Kalamazoo. Session organizers and speakers must be ICMA members.  
 
Proposals to the ICMA must include a session abstract and a CV of the organizer(s). A list of speakers is not required at the time of application. Organizers will have the opportunity to send out a call for papers after the session is selected by the ICMA and has been approved by the Congress Committee in July.
 
Upload your proposals HERE by 15 May 2023
 
Please direct all inquiries to the Chair of the Programs & Lectures Committee: Alice I. Sullivan, Tufts University, USA, alice.sullivan@tufts.edu 
 
The ICMA Programs & Lectures committee will select a session to sponsor and will notify the successful organizer(s) by 26 May 2023. The organizer(s) will then submit the ICMA-sponsored proposal to the ICMS by 1 June 2023.  


A NOTE ABOUT KRESS TRAVEL GRANTS 


Thanks to a generous grant from the Kress Foundation, funds may be available to defray travel costs of speakers in ICMA sponsored sessions up to a maximum of $600 for domestic travel and of $1200 for overseas travel. If a conference meets in person, the Kress funds are allocated for travel and hotel only. If a conference must be held online, Kress funding will cover virtual conference registration fees.

Click HERE for more information.

Lecture Series: Research Out Loud: Met Fellows Present, The Metropolitan Museum of Ary, 4-19 May 2023 Online & In-Person

The Metropolitan Museum of Art

Research Out Loud: Met Fellows Present

May 4–19, 2023

Free, though advance registration is required for virtual sessions.

Presenting cross-cultural and trans-historical connections rooted in a deep engagement with our collection, the fellows’ research this year evades easy classification by circumventing traditional disciplinary boundaries and exploring exciting new avenues of inquiry across the humanities, social sciences, and cultural heritage preservation.

Virtual presentations with a medieval focus include:

Thursday, May 4, 10 am–12 pm - Unsettling Approaches: Decolonizing and Diversifying Museum Perspectives

Searching for Sicilian Silks: A Study in Medieval Mediterranean Motifs and Migration

Claire Dillon, The Sylvan C. Coleman and Pam Coleman Memorial Fund Fellow, Department of Medieval Art and The Cloisters

Friday, May 5, 10 am–12 pm - Making Materials Strange: Gold, Wood, and Bronze

Charting Biblical Gold, from India and Havilah to Medieval Europe

Joseph Salvatore Ackley, J. Clawson Mills Scholar, Department of Medieval Art and The Cloisters

Marian Devotion and “Reconquest” Rhetoric in Medieval Navarre

Cristina Aldrich, Marica and Jan Vilcek Curatorial Fellow, Department of Medieval Art and The Cloisters

Friday, May 5, 1–3 pm - Music, Monks, and Monasteries: Perspectives from India, China, and Beyond

Localizing Sacredness: Imagery of Divine Monks in China through the Tenth and Eleventh Centuries
Clara Ma, The Sylvan C. Coleman and Pam Coleman Memorial Fund Fellow, Department of Asian Art

Buddhist Temples and Temple Buddhism in Early Medieval Eastern India

Louis Copplestone, The Sylvan C. Coleman and Pam Coleman Memorial Fund Fellow, Department of Asian Art

Thursday, May 18, 1–3 pm - Identity Made Visible: Explorations into the Hidden Facets of Western and Central Asian Culture

To Leave One’s Mark: Reconstructing Social Networks in Sasanian Iran through 3D Documentation of Seals and Sealings
Johnathan W. Hardy, Jane and Morgan Whitney Fellow, Department of Ancient Near Eastern Art

From Conjecture to Proof: An Investigation on the Sassanid Stucco after Two Millennia
Atefeh Shekofteh, Andrew W. Mellon Foundation Conservation Fellow, Department of Scientific Research

Early Iranian-Islamic Metallurgy: Technological Aspects of Copper-Based Metalworks from the Seventh through Fourteenth Centuries CE
Omid Oudbashi, Andrew W. Mellon Foundation Conservation Fellow, Department of Scientific Research

In-Person event with a medieval focus:

Friday, May 12, 3:30–4:30 pm - Golden and Godly on the Medieval Altar

Join our current fellows in the galleries for in-person talks, readings, musical performances, and other activations of The Met galleries.

Cristina Aldrich, Marica and Jan Vilcek Institute of Fine Arts Curatorial Fellowship, Department of Medieval Art and The Cloisters
Joseph Salvatore Ackley, J. Clawson Mills Scholar, Department of Medieval Art and The Cloisters

Taking place virtually on Zoom from May 4 through May 19, 10 AM and 1 PM on Thursdays and Fridays, this year’s events will feature 47 fellows presenting 20-minute talks that make cross-cultural and trans-historical connections rooted in a deep engagement with our collection. All sessions will be followed by rich panel discussions benefitting from the insights and expertise of staff from across curatorial and conservation. Click on the link to register. 

Fellows will also activate their research onsite and in-person on Fridays, May 5, 12 (The Cloisters), and 19 through talks, musical performances, and other exciting activations of the galleries. This event is included with museum admission and registration is not required.

Available are a PDF with information about the entire series and a PDF that includes the fellows' abstracts.

For more information, https://www.metmuseum.org/events/programs/met-speaks/fellows-colloquia/research-out-loud-met-fellows-present-2023

Heralding the Coronation, Adrian Ailes, Society of Antiquaries of London, 2 May 2023 1-2PM BST (8-9AM EST) In-Person & Online

Society of Antiquaries of London

Event Series: Lunchtime Lectures

Heralding the Coronation: Heralds and Heraldry at Coronations from the Middle Ages to the Twentieth Century

by Adrian Ailes

In-Person & Online

2 May 2023, 1:00-2:00 pm BST (8:00-9:00 AM EST)

A look at the way in which heralds have helped organise, marshal, and record coronations in this country since 1400 and how the heraldry displayed at these extraordinary rituals symbolised power both royal and imperial.

This event is in person and online.

Attendance at Burlington House:

  • Open to anyone to join, Fellows, Affiliates and General Public.

  • Places in person will be allocated on a first-come, first-served basis.

  • The event will begin at 13.00 BST. Please arrive in plenty of time.

  • Registration is essential for non-Fellows but we encourage Fellows to register as well.

Attendance by Live Stream:

  • Open to anyone to join, Fellows, Affiliates and General Public.

  • The event will be live-streamed to YouTube here

  • The event will begin at 13.00 BST.

  • You will receive an email reminder with the link to join the day before the lecture.

For more information and to book, https://www.sal.org.uk/event/heralding-the-coronation/

Call for Papers: Mary Jaharis Center for Byzantine Art and Culture Sponsored Session, 7th Forum Medieval Art/Forum Kunst des Mittelalters, Proposals Due 29 May 2023

Call For Papers

Mary Jaharis Center for Byzantine Art and Culture Sponsored Session

7th Forum Medieval Art/Forum Kunst des Mittelalters, Jena, September 25–28, 2024

Proposals Due 29 May 2023

The Mary Jaharis Center for Byzantine Art and Culture seeks proposals for a Mary Jaharis Center sponsored session at the 7th Forum Medieval Art/Forum Kunst des Mittelalters, Jena, September 25–28, 2024. The biannual colloquium is organized by the Deutsche Verein für Kunstwissenschaft e.V.

The theme for the 7th Forum Medieval Art is Light: Art, Metaphysics and Science in the Middle Ages.

The Mary Jaharis Center invites session proposals that fit within the Light theme and are relevant to Byzantine studies.

Session proposals must be submitted through the Mary Jaharis Center website. The deadline for submission is May 29, 2023.

If the proposed session is approved, the Mary Jaharis Center will reimburse a maximum of 4 session participants (presenters and session chair) up to $500 maximum for participants traveling from locations in Germany, up to $800 maximum for participants traveling from the EU, and up to $1400 maximum for participants traveling from outside Europe. 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. The Mary Jaharis Center regrets that it cannot reimburse participants who have last-minute cancellations and are unable to attend the conference.

For a complete description of the theme, further details, and submission instructions, please visit https://maryjahariscenter.org/sponsored-sessions/7th-forum-medieval-art.

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

Postgraduate Medieval Symposium 2023, The Courtauld Institute of Art, London, 22 May 2023 9:00-18:30 BST

Postgraduate Medieval Symposium 2023

Monday 22nd May 2023, 09:00am -18:30pm BST

The Courtauld Institute of Art, London

Lecture Theatre 2, Vernon Square Campus

Flemish, Southern Netherlands The Holy Family, ca. 1500 Flemish, Southern Netherlands, Wool, silk, and gilt- and silvered-metal-strip-wrapped silk in slit, dovetailed, and interlocking tapestry weave with supplementary brocading wefts (in sewing basket, Joseph’s coat, and hem of Mary’s cloak); 40 9/16 x 46 15/16 in. (103.1 x 119.2 cm) The Metropolitan Museum of Art, New York, Robert Lehman Collection, 1975 (1975.1.1913) http://www.metmuseum.org/Collections/search-the-collections/459954

During the Middle Ages and Renaissance, textiles wrapped up and coated walls, people, furniture, and objects. They provided omnipresent, and often complex, symbolic and visual demarcations of spaces. Diplicare, the root of display, is in unfolding: so much of the frameworks of how we surround ourselves are rooted in practices using cloth. The value of these textiles, both in their materiality and craftsmanship, exceeded that of many other artforms which have been privileged by scholars. Textiles were often disregarded in art historical study, considered to be visually unappealing or discredited in previous centuries as part of the decorative arts. In addition, only a fraction of the textiles that functioned in these spaces survive, many of which are in a fragmented state.

In recent years, textiles have received more attention in art historical studies, and block buster exhibitions on tapestries have made the importance of textiles clear to a wider public. There are, however, still many new angles from which we can interrogate and discuss textiles which can enrich, connect, and reframe not only textile history but wider research subjects in Medieval and Renaissance studies.

In this symposium we would like to draw together varying angles of research through their intersections with textiles, in whatever capacity. The theme of this symposium centres on how Medieval and Renaissance textiles, real and depicted, combine, overlap or intersect in different ways. In short, it aims to interrogate how textiles get entangled with other people, arts, materials, objects and functions.

Free, booking essential.

Organised by Jessica Gasson (The Courtauld) and Julia van Zandvoort (The Courtauld). Generously supported by Sam Fogg.

Programme

9.00 – Opening remarks

Secular Textiles
9.15 – 10:40 Panel 1 – Networks and trade /collecting of textiles

Key Note Samuel Cohn
Textiles, Piety, and Memory in Late Medieval Tuscany

Julia van Zandvoort
‘Per la gran furia di compratori’: Obtaining Flemish Tapestries in Sixteenth-century Italy, the case of the Van der Molen firm (1538-1544)

Nina Reiss – Trojan War tapestries (production / trade)
The ‘intersecting geographies’ of the tapestries of the Trojan War – tapestry
production between Paris and Tournai

10.40-11.00 Panel discussion

11.00-11.30 Tea Break

11:35 – 13:00 Panel 2 – Textiles in secular settings

Chiara Stombellini
(Re-)Weaving Ritual Paths: Silk Textiles as Markers of Ceremonial Space in Late Medieval Venice

Pauline Devriese
The stink of the cities – secondary scenting of domestic textiles in Europe

Karina Pawlow
Textile and glass interweaved. Entanglements of two arts in Renaissance Venice

13.00-13.20 Panel discussion

13.20-14.20 Lunch break

Religious Textiles
14:25 – 15:50 Panel 3 – Textiles and ritual function / iconography

Jessica Gasson
Tapestries on the altar: exploring the design and use of the Louvre Virign of the Living Water and the Sens Three Coronation tapestries

Julie Glodt
Overlapping Incarnation and Consecration Textiles, Images and Gestures around the Cluny Museum’s Corporal Case (13th century)

Aimee Clark
“The Garden of the Incarnation and the Conversion of the Heart: The Mass of Saint Gregory”

15.50-16.10 Panel discussion

16.10-16.30 Coffee break

16:35 – 17:55 Panel 4 – Reassembling Religious Textiles

Mireia Castano Martine
Fragmentation and reconstruction of an embroidered altar frontal

Jeroen Reyniers
Many layers of textiles. The relic treasure of Herkenrode in Hasselt (Belgium) revealed through material technical research

Jordan Quill
At the Intersection of Political and Ritual functions of textiles: Sensory Experiences of Textiles in the Sumtsek at Alchi, Ladakh

17.55-18.15 Panel discussion

18.15-18.25 Closing remarks

18.30 Wine reception

Fabulous Adventurer and Magnanimous King: The Reception of Alexander the Great in Renaissance Italian Art, Claudia Daniotti, The Courtauld Institute of Art, London, 4 May 2023, 5:00-6:30 PM GMT

Italian Renaissance Seminar

Fabulous Adventurer and Magnanimous King: The Reception of Alexander the Great in Renaissance Italian Art

Dr Claudia Daniotti

Thursday 4th May 2023, 5:00-6:30pm GMT

Lecture Theatre 1, Vernon Square, The Courtauld Institute of Art, London

Alexander as King of Swords, from the Sola-Busca Tarocchi, c. 1470-1491, Milan, Pinacoteca di Brera

Very few figures in history have produced such fascination over the centuries as Alexander the Great. His name, it has been rightly said, “had the spell of youth and glory”, and his captivating figure was re-shaped again and again for two thousand years, with each age creating its own Alexander. In medieval Europe, the ancient commander was turned into a god-like creature, a fearless explorer, a chivalrous knight. The Italian tradition is no exception to this widespread imagery: illuminated manuscripts, mosaics and sculpted reliefs bear witness to the huge popularity of Alexander’s legendary adventures from the Alps to Sicily. And yet, a moment came in Renaissance Italy when the fabulous aura that had surrounded Alexander for centuries evaporated: the Macedonian conqueror was recast as an exemplum of moral virtue and military prowess, the protagonist of iconic paintings by Sodoma, Perin del Vaga, and Paolo Veronese. This talk will discuss precisely this turning point in the tradition that happened in Renaissance Italy, from the Sala Baronale in the Castle of La Manta to the Sala di Alessandro in the Castle of Bracciano, with the aim of shedding new light into the Renaissance reinvention of Alexander.

Claudia Daniotti is a specialist of Italian Renaissance art with an emphasis on iconography and the reception of classical antiquity. Currently a Leverhulme Early Career Fellow at the University of Warwick, she holds a PhD from the Warburg Institute and has lectured for years both in academia and museums, including the Universities of Buckingham and Bath Spa, and the Center for Italian Modern Art in New York. Claudia has long been working to the posthumous life of Alexander the Great, and her monograph Reinventing Alexander: Myth, Legend, History in Renaissance Italian Art was published by Brepols in December 2022.

Organised by Dr Guido Rebecchini (The Courtauld) 

This is an in-person and free event at the Vernon Square campus. Booking will close 30 minutes before the event begins.

Exposition: Les instruments de musique au Moyen Âge, Poitiers, Du 04 avril 2023 au 09 mai 2023

Exposition

Les instruments de musique au Moyen Âge

Du 04 avril 2023 au 09 mai 2023


Hall de la BU Foucault, Poitiers, UFR Sciences Humaines et Arts et BU Michel Foucault
8 rue René Descartes  I  bâtiment E18  I  niveau 4

Une exposition réalisée par le CESCM - UMR 7302, et proposée par l’UFR Sciences Humaines et Arts et la Bibliothèque Universitaire Michel Foucault

Cette exposition illustre la variété d’instruments de musique à travers l’iconographie de l’art médiéval : instruments à cordes, frottés ou pincés, instruments à vent et instruments à percussion… Elle présente des photographies issues des fonds du CESCM, de Musiconis et d’Apenutam.

Les arts visuels médiévaux et plus particulièrement la sculpture monumentale et les manuscrits sont les sources principales de documentation concernant les instruments de musique, telle la vièle ou la rote fréquemment représentées. Dans le cadre du projet ANR Musiconis, mené entre 2011 et 2015, des photographies représentant des instruments de musique à l’époque médiévale, réalisées par Lionel Dieu et données à l’association Apemutam, ont fait l’objet d’une numérisation et d’une indexation dans les bases de données du CESCM (ROMANE) et de Musiconis.
Cette sélection est complétée par des photographies argentiques issues du fonds photographique du CESCM, présentées à la BU Michel Foucault.

Cette exposition a été réalisée par Stéphanie Thomas et Lisa-Oriane Crosland et l’équipe du pôle documentaire du CESCM, avec la participation de Vanessa Ernst-Maillet, Isabelle Fortuné et Pablo Rousseau.

Entrée libre. Exposition accessible aux horaires d’ouverture de la BU Michel Foucault.

https://cescm.labo.univ-poitiers.fr/exposition-les-instruments-de-musique-au-moyen-age-2/

Journée d'études: Dévotion et émotions. Pour une approche croisée des images et des textes, Université de Poitiers, 16 mai 2023 (Online)

Dévotion et émotions. Pour une approche croisée des images et des textes

Journée d'études organisée par Marcello Angheben (CESCM)

Université de Poitiers (Online)

16 mai 2023

Intervenants

Marcello Angheben, Université de Poitiers, CESCM
Nicolas Balzamo, Université de Neuchâtel
Mathieu Beaud, Université de Lille
Damien Boquet, Université d’Aix-en-Provence
Bertrand Cosnet, Université de Lille, IRHiS
Julia Maria García Morales, Universidad de Murcia
Anne-Laure Imbert, Université Paris I Panthéon-Sorbonne
Marielle Lamy, Sorbonne Université Lettres
Catherine Nicolas, Université Paul-Valéry Montpellier III

Informations complémentaires

Contact :  marcello.angheben@univ-poitiers.fr

Visioconférence

• Inscription préalable requise, par mail auprès de: marcello.angheben@univ-poitiers.fr

• Lien de connexion: https://univ-poitiers.webex.com/meet/marcello.angheben

For more information, https://cescm.labo.univ-poitiers.fr/devotion-et-emotions-pour-une-approche-croisee-des-images-et-des-textes/

Painting Pairs 2022-23: Collaborative Research in Conservation and Art History, The Courtauld Institute of Art, London, 4 May 2023 2-4PM BST

Painting Pairs 2022-23: Collaborative Research in Conservation and Art History

The Courtauld Institute of Art, London

Thursday 4th May 2023, 2pm - 4pm BST

Circle of Marco d' Oggiono (ca. 1467-1524), Salvator Mundi, circa 1510-25. Tempera on panel. © The Samuel Courtauld Trust, The Courtauld Gallery, London

Painting Pairs presents collaborative research undertaken by graduates in conservation and art history focussing on paintings currently in the conservation studios at the Courtauld. The paintings that form the focus for investigation by each a pair of graduates are from different periods and pose a range of questions related to their history, conservation and display.

In this second presentation, the pairs will each report on their technical and art historical examination in a 15-20 minute presentation, with time for questions.

Organised by Professor Aviva Burnstock (The Courtauld), Pippa Balch (The Courtauld) and Dr Karen Serres (The Courtauld).

2022 – 23 Painting Pairs Collaborative Research Partners:

Abby Li working with Sophia Boosalis on S. Jerome, after Joos van Cleve

Kaira Mediratta working with Alexandra Earl on Barred Gate by Evelyn De Morgan

Emma Wright working with Elisabeth Subal on Girl Reading “The Task”

Jean -Michael Maugue with Talia Ratnavale working on St Anthony Abbot and St Sebastian, oil on panel

Chloe Glass working with Catherine Dussault on Miss Coope by Katherine Clausen

Nandipa Mabere working with Megan Buchanan-Smith on Salvador Mundi, Courtauld Gallery


This is an in-person only event at the Vernon Square campus. Booking is free and will close 30 minutes before the event begins.

For more information and booking, https://courtauld.ac.uk/whats-on/painting-pairs-2022-23-collaborative-research-in-conservation-and-art-history-2/