CALL FOR Papers: International Society for the Study of Medievalism: The Medieval in Cyberspace (26-28 October 2023 Online), Due 15 August 2023

CALL FOR PAPERS

International Society for the Study of Medievalism

Theme: The Medieval in Cyberspace

October 26-28, 2023 - Online

Submission Deadline: August 15, 2023

The 2023 conference will be 100% online and hosted by The UNICORN Castle! Most scholarly presentations will be conducted via Zoom technology; some of the entertainment and scholarly presentations (by request) will be conducted in an online gaming style environment; some of the presentations and responses will be conducted asynchronously in a Moodle (learning platform) environment.

From Beowulf on Steorarume to contemporary novels (in e-text form), films, and video games: the medieval has been represented in digital form on the World Wide Web since the late 1990s. This conference invites proposals for papers, paper sessions, round tables, panels, and workshops that celebrate, rebuke, categorize, visualize, analyze, and/or prophesize all items that contain elements of the medieval to be found on the Internet. However, we invite papers and presentations on all topics of medievalism, not limited to this year’s conference theme. We particularly welcome proposals from presenters in (or addressing topics related to) regions outside North America, Western Europe, and the Anglophone world.

Topic Suggestions:

  • Artificial Intelligence and Medievalism

  • Artificial Intelligence

  • Medieval Studies Online

  • Medieval Scholars and Scholarship in Social Media

  • Medieval Scholarship Online

  • Medieval Pedagogy Online

  • Medievalism and Online Politics

  • Medievalism and Propaganda

  • Medievalism and Religion Online

  • Digital Facsimiles of the Medieval

  • The Business Philosophy of Medievalism

  • The Video Game Industry and Medievalism

  • The Film Industry and Medievalism

  • Fan Fiction and Medievalism

  • Art and Medievalism

  • Global Medievalism Online

  • Cyberpunk Medievalism

  • Medievalism and Racism Online

  • Medievalism and Misogyny Online

  • Medievalism and Ablism Online

  • Medievalism and Homophobia/Transphobia Online

  • Lost Provinces, or Lost and Found Medievalisms Online

Send proposals (abstracts of 250-300 words each) by August 15, 2023 to Carol L. Robinson at clrobins@kent.edu.

For more information, click here.

Exhibition Closing: Dürer for Berlin, Looking for Traces of the Master in the Kupferstichkabinett, Berlin, Until 27 August 2023

Exhibition Closing

Dürer for Berlin
Looking for Traces of the Master in the Kupferstichkabinett

Kultureforum, Staatliche Museen zu Berlin / PREUßisher ulturbesitz

Until 27 August 2023

Albrecht Dürer, Die Drahtziehmühle, 1489 - 1494, detail, Watercolour © Staatliche Museen zu Berlin, Kupferstichkabinett / Jörg P. Anders

The Kupferstichkabinett is home to one of the most important collections of drawings and printed works by Albrecht Dürer anywhere in the world. The masterpieces gathered together here give a striking demonstration of the breadth of his artistic production. With this exhibition, the Kupferstichkabinett is opening one of its greatest treasure chests.

Alongside Dürer’s Meisterstich engravings and woodcut series (such as Apocalypse and Life of the Virgin), key drawings will be on display, such as Dürer’s Mother, TheWire-Drawing Mill, along with numerous sheets from the famous Sketchbook of His Journey to the Netherlands. With its 120 exhibits, the show will also publicly explore the multifaceted nature of the collection itself for the first time. It leads from the beginnings of the Berlin Kupferstichkabinett in 1831 and the founding of the German Empire in 1871 through the Gründerzeit and the Nazi years to the division of the collections after the war and their subsequent reunification at the Kulturforum in 1994.

In this sense, the exhibition does not just explore art-historical aspects, but also aspects relating to the history of collecting as well as broader cultural-historical themes. It touches on the formation of Germany’s national identity, on the transfer of artworks during the Napoleonic era and its effect on the European art market, and on one of the first ever controversies of attribution in German art history.

For more information, https://www.smb.museum/en/exhibitions/detail/duerer-for-berlin/

Call for Applications: Manuscripts in the Curriculum III at Les Enluminures, Due By 15 October 2023

Call for Applications

Manuscripts in the Curriculum III at Les Enluminures

Due By 15 October 2023

“Manuscripts in the Curriculum” is Les Enluminures’s innovative and highly successful program that enables colleges, universities, and other educational institutions in the United States and Canada to borrow a select group of original manuscripts for teaching and exhibitions for a segment of the academic year (semester, quarter, or summer session). The integration of real manuscripts into the curriculum in courses where students can work closely with original material under the guidance of a professor is a central tenet of the program. The program also serves as a springboard, enabling participating institutions to discover and implement ways that manuscripts can continue to be used creatively in their curricula.


We are now accepting applications for participation in “Manuscripts in the Curriculum III” to begin in January 2024. A group of nine manuscripts will be available for loan. We will choose seven manuscripts to serve as a diverse sample of manuscripts from across Europe in Latin and the vernacular from various dates; it is possible to customize the program with the addition of two “wild card” manuscripts especially suited to the needs of the participating institution. Descriptions of a sample group of manuscripts will be available upon request.


There is a nominal cost ($5,500) for North American institutions to contribute towards the out-of-pocket expenses of the program (with an additional fee for participating Canadian institutions for international shipping and customs). The fee covers administration, insurance, shipping, and condition reports. The program also includes a zoom-meeting with the supervising curator and faculty to discuss the loan, and one class session on the manuscripts presented via zoom by Sandra Hindman and Laura Light (at a time mutually agreed upon by Les Enluminures and the participating institution).
To read more about the program, including news from past participants, please see our website, http://www.textmanuscripts.com/curatorial-services/manuscripts

The application (no more than 3 pages in length) should include: a letter of intent outlining the course(s) planned, and other internal and public events (lectures, receptions, colloquia), as well as any special requests for “wild card” manuscripts; a plan for integrating the use of manuscripts in the curriculum after the conclusion of the program; the names of faculty and library staff responsible for overseeing and funding the program; and the preferred semester with a second choice listed (from January 2024 through January 2027). Applications are due October 15, 2023. Decisions will be announced November 15, 2023.


Please send your application to: lauralight@lesenluminures.com

Call For Papers For International Workshop: NEW PERSPECTIVES ON PERSONIFICATIONS IN ROMAN, LATE ANTIQUE AND EARLY BYZANTINE ART (200 – 800 AD) , Munich (25-27 January 2024), Due By 15 September 2023

Call For PApers: International Workshop

INSTITUT FÜR BYZANTINISTIK, BYZANTINISCHE KUNSTGESCHICHTE UND NEOGRÄZISTIK, Ludiwg-Maximilians Universität München

SPÄTANTIKE UND BYZANTINISCHE KUNSTGESCHICHTE e.V.

NEW PERSPECTIVES ON PERSONIFICATIONS IN ROMAN, LATE ANTIQUE AND EARLY BYZANTINE ART (200 – 800 AD)

Munich, 26-27 January 2024

Due By 15 September 2023

Keynote Speaker: Emma Stafford, University of Leeds, School of Languages, Cultures and Societies

Personifications are some of the most geographically and chronologically widespread phenomena in Art History. From monumental sculpture or floor mosaics to textiles, coins or everyday objects, personifications were represented in all visual media to express and communicate a variety of different ideas, such as natural phenomena, months, seasons or geographical regions, personal qualities or intangible abstractions. While some are easily identifiable via specific attributes, others can only be recognized through name labels; some occur as isolated figures, others as active participants in complex scenes; some exist in countless examples, others survive in a singular image. They may have counterparts in contemporary written sources, or may be purely visual inventions. In addition, a single personification can carry multivalent meanings, which may allow for several layers of interpretation. Over time their ontological status, functions and meanings have undergone various changes. A significant period of transformation is the transition from the ancient to the mediaeval world. While personifications were seen as numinous figures in ancient Mediterranean societies, they may have been rather symbolic or allegorical in mediaeval visual cultures.

The aim of this workshop is to explore the formal patterns, roles and meanings, continuities and innovations in the depictions of personifications of this period to better understand their functions, their relationship to one another and to other iconographic tools, as well as the changes that occur between the second and ninth centuries in the Mediterranean world.

We invite proposals for individual papers from the fields of classics, archaeology, art history, visual studies, numismatics, sigillography and related fields addressing especially, but not exclusively, the following topics:

  • New research on individual personifications in all Roman, Late Antique and Byzantine visual media (sculpture, painting, mosaic, coins, seals, textiles, book illumination, jewellery, everyday and/or luxury objects, etc.)

  • Methodological and theoretical approaches towards personifications (ontology, polysemy, etc.)

  • Reflections on the relationship between text and image in the analysis of personifications

  • Functional comparisons between different formats (stand-alone personifications, personifications in groups and/or narrative scenes)

  • Chronological and geographical comparisons and iconographical developments in the depictions of personifications

  • Relationship between the pictorial representation of personifications and their spatial and/or cultural context

  • Relationship between personifications and the patrons, recipients and viewers of objects and works of art that include them

Please submit an abstract of 300 words and a bio of 100 words by 15 September 2023. All proposals should include your name, email address and academic affiliation (if applicable). Please also include a main subject field plus secondary subject field in the application. The participants are expected to deliver a 20-minute talk, followed by a Q&A session. The workshop will take place in-person at Ludwig-Maximilians-Universität München and the Museum für Abgüsse Klassischer Bildwerke in Munich on Friday and Saturday, 26-27 January 2024 and will be held in English. For the planned publication German, French and Italian will also be accepted.

The workshop is organized by Institut für Byzantinistik, Byzantinische Kunstgeschichte und Neogräzistik, Ludwig-Maximilians-Universität München with the kind support of Spätantike Archäologie und Byzantinische Kunstgeschichte e.V.

Please do not hesitate to contact us with any questions you may have and send your abstracts and bios to both:

Charles Wastiau, Cwastiau@uliege.be, Université de Liège, Rheinische Friedrich-Wilhelms-Universität Bonn

Prolet Decheva, prolet.decheva@ucdconnect.ie, University College Dublin, Ludwig-Maximilians-Universität München

For a PDF of the Call for Papers: https://www.academia.edu/103941544/CFP_New_Perspectives_on_Personifications_in_Roman_Late_Antique_and_Early_Byzantine_Art_200_800_AD_

Pultizer Arts Foundation Virtual Conversation: Exhibitions, Museum Collections, and Environment, 27 July 2023 12-1PM CT/1-2PM ET

Pultizer Arts Foundation

Virtual Conversation

Exhibitions, Museum Collections, and Environment

Thu, Jul 27, 2023, 12–1 pm CDT/1-2 PM ET

Join Heather Alexis Smith, Assistant Curator at the Pulitzer, and Dr. Julia Perratore, Assistant Curator at The Met Cloisters for a conversation about ecology-centered museum practices. Smith will describe the process of organizing the Pulitzer’s spring show, The Nature of Things: Medieval Art and Ecology, 1100-1550 and will discuss how exhibitions can help us think differently about environments—both past and present. Perratore will detail efforts underway at the Met Cloisters—one of the most comprehensive collections of medieval art in the world—to build more climate-friendly installations and exhibitions.

This program will be hosted on Zoom; Registration is required.

Questions? Contact programs@pulitzerarts.org.

For more information, https://pulitzerarts.org/events/virtual-conversation-exhibitions-museum-collections-and-environment/

Call for Papers: “Landscapes of Sanctity” Panel, International Medieval Congress 2024, Leeds, Due By 31 July 2023

Call for Papers

“Landscapes of Sanctity” Panel

International Medieval Congress 2024, Leeds

Due By 31 july 2023

St Oswald bei Plankenwarth, Syria

The AHRC-funded project “Liturgical and Literary Landscapes” welcomes applications from Early Career Researchers to participate in panels on ‘Landscapes of Sanctity’ to be put forward for the Leeds International Medieval Congress 2024. The four successful applicants will each be given a bursary of £450 towards the costs of attending the conference.

‘Liturgical and Literary Landscapes’, led by Johanna Dale (UCL) and Sarah Bowden (King’s College London) brings together historical approaches with those from literary studies to reassess the transmission of the cult of St Oswald, and, more broadly, uses multi-disciplinary approaches to place, space and landscapes to explore new ways of thinking about the transnational cults of saints. The organizers plan to propose two or three interlinked panels to the Leeds IMC 2024, with contributions from the project leads, a couple of established experts, and new ECR voices. In these panels, which will be brought together under the framework ‘Landscapes of Sanctity’, the organizers would like to explore the ways in which the cults of saints are connected to the landscape, both as physical reality and as experienced and constructed in the cultural memory and imagination. Papers might consider the ways in which cults change as they move, and how these movements can be traced through texts or material artefacts; or how cults leaves traces on landscapes through time (e.g. buildings or settlements) and how these traces and connections are manifest today, both physically and in the cultural imagination. They might explore the role and construction of landscape in lives of saints, or offer ecocritical readings; alternatively they might think about ways in which saintly cults are anchored across time in place, i.e. through liturgy.

Paper proposals are welcome from ECR researchers from a range of disciplines, including (but not limited to): History, Literatures, Art History, Archaeology, Musicology, Theology. Those interested in offering a paper and applying for a bursary should send an abstract and a short CV (one side) to Sarah Bowden (sarah.bowden@kcl.ac.uk) by 31 July 2023. The organizers will prioritize applicants with no (or limited) access to funding for conference attendance, so please indicate whether or not other sources may be available to you.

For more information on the AHRC-funded project, https://oswaldusrex.co.uk/

Call for Submissions: Metropolitan Museum Journal Vol. 59 (2024), Due by 15 September 2023

Call for Submissions

Metropolitan Museum Journal Vol. 59 (2024)

Due by 15 September 2023

Metropolitan Museum Journal, Vol. 56 (2021)

The Editorial Board of the peer-reviewed Metropolitan Museum Journal invites submissions of original research on works of art in the Museum’s collection.

Founded in 1968, the Metropolitan Museum Journal is a double blind, peer-reviewed scholarly journal published annually that features original research on the history, interpretation, conservation, and scientific examination of works of art in the Museum’s collection. Its scope encompasses the diversity of artistic practice from antiquity to the present day. The Journal encourages contributions offering critical and innovative approaches that will further our understanding of works of art.

The Journal publishes Articles and Research Notes. All texts must take works of art in the collection as the point of departure. Articles contribute extensive and thoroughly argued scholarship, whereas Research Notes are often smaller in scope, focusing on a specific aspect of new research or presenting a significant finding from technical analysis. The maximum length for articles is 8,000 words (including endnotes) and 10–12 images, and for research notes 4,000 words with 4–6 images.

Manuscripts are reviewed by the Journal Editorial Board, composed of members of the curatorial, conservation, and scientific departments, as well as scholars from the broader academic community. The process is double-blind peer review.

Articles and Research Notes in the Journal appear in print and online and are accessible in JStor on the University of Chicago Press website.

The deadline for submissions for Volume 59 (2024) is September 15, 2023.

Submission guidelines: www.journals.uchicago.edu/journals/met/instruct
Please send materials to: journalsubmissions@metmuseum.org
Questions? Write to Elizabeth.Block@metmuseum.org

Inspiration from the Collection: www.metmuseum.org/art/collection
View the Journal: http://www.journals.uchicago.edu/loi/met

Exhibition Closing: Garden and Nature in the Medieval World, Dumbarton Oaks, Washington, D.C., Closing July 2023

Exhibition Closing

Garden and Nature in the Medieval World

Snapshots of medieval gardens in a global comparative framework and medieval peoples’ relationship to gardens and nature through their art

Dumbarton Oaks, Washington, D.C.

13 February –July 2023

To speak of “garden” and “nature” in the medieval world is to consider in the broadest terms how human beings have lived surrounded by and in constant relationship with the natural environment.

This exhibition presents snapshots of medieval gardens in a global comparative framework, drawing attention to the varied expressions of garden culture in the research areas represented at Dumbarton Oaks.  In addition, this exhibit includes selected objects from the museum galleries that depict medieval peoples’ relationship to gardens and nature through their art.

For more information, visit https://www.doaks.org/visit/museum/exhibitions/garden-and-nature

Trans*Historical 2023 Conference, Online, University of Liverpool, 10-11 July 2023

Conference

Trans*Historical 2023

Online & at The University of Liverpool

Mon, 10 Jul 2023 09:30 - Tue, 11 Jul 2023 16:00 BST

Spanning from the Neolithic to the Twenty-First Century, the Trans*Historical conference is an unprecedented opportunity for all academics and professionals whose work explores transgender and nonbinary history to come together to share and celebrate their research.

This event has been made possible with support from the University of Liverpool, the Scottish Society for Northern Studies, and the Liverpool Centre for Medieval and Renaissance Studies.

Tickets to Attend Online are still available. To register to attend online, visit https://www.eventbrite.co.uk/e/transhistorical-conference-tickets-654038114607

Programme

Day 1: Monday 10th July

9:30 - Doors
9:50-10:00 - Welcome address

10:00-11:35 - Panel 1

Charlotte Bell, Gender Divergency in Roman Britain: The Case of ]iklio

Isobel Sinclair, What Does the Evidence From Early Neolithic Southern Britain Reveal About the Role Sex and Gender Played in Identity?

Laura Howard, Using Osteological Analysis to Identify Historical Two-Spirit People: An Ethical Approach for Colonial Academics in Queer Indigenous Archaeology

James Davison, Exploring the Trans Potential in Two Early Medieval Kentish Cemeteries

11:35-11:50 - Coffee break

11:50-1:25 - Panel 2

Nate Ritchardson-Reed, Seiðr: The Magic of (Trans)formation

Robert Girling, Androgyny and Syzygy in Gnostic Myths

Cicilia Neil-Smith, Gendering Victorian Mermaids

Onni Gust, Thinking with Merfolk: Writing Transgender History in the Context of Global Climate Catastrophe

1:25-2:25 - Lunch

2:25-3:15 - Panel 3

Robin Eams, Gender Crossing in the Colonies: Trans Histories of Nineteenth Century Australia

Sue Lemos, Reading Lesbians Talk in 1990s Britain Through Black Trans*/Queer Perspectives

3:15-3:30 - Coffee break

3:30-4:45 - Panel 4

Billie-Gina Thomason, 4 Cs of Passing: A Conceptual Framework for Understanding Gender Variance in Nineteenth Century Britain

Leila Sellers, ‘A Society For Heterosexual Transvestites’ – Trans Identity, Community and Belonging in the Beaumont Society, 1966-1982

Fleur MacInnes, Mutual Aid and Community Care in Trans-Feminine Spaces in Britain, 1968-1985

Day 2: Tuesday 11th July

9:30 - Doors

10:00-11:35 - Panel 1

Hannah Poole, Riddling Trans: Pointedly Feminist Translations of the Exeter Book Riddles

Moss Pepe, Against Crossdressing: A Historiography of the Roman de Silence

Lucy Cullen, Silence, Stigmas and Space in Emma Donoghue’s The Welcome

Luka Holmegaard, Hyacinth: A Novel in Progress

11:35-11:50 - Coffee break

11:50-1:25 - Panel 2

Bellatrix Schindens, Did Saint Eugenia/Eugenius of Alexandria Experience Sex Dysphoria? - An Analysis of the Original Greek

Elizabeth West, Beyond the Sword: Re-examining the Identities of Gender Divergent Viking Warrior Graves

Cory Huston, A Spectrum of Consent: Racial & Gender Variance in the Early Modern Dramatic Canon

Anouk Durand-Cavallino, Trans Practices (in Lesbian History) in Eighteenth and Nineteenth Century France

1:25-2:15 - Lunch

2:15-3:50 - Panel 3

Sarah Li, Recovery: Developing Artist Methodologies for Queering Archives

Chris Pihlak, Trans Normativity and the Collapse of the Transfeminine Umbrella

Claudio Molina Gómez, Trans Imagery in the History of the Eurovision Song Contest

Jeff Redding, Hope, Happenstance, and the Making of Pakistan’s Landmark Transgender Rights Judgments

3:50-4:00 - Closing address

NEW VIDEO! ICMA BOOK SALON: WRITING THE MIDDLE AGES & THE RENAISSANCE FOR THE PUBLIC: A CONVERSATION WITH THE AUTHORS 

NEW VIDEO

ICMA BOOK SALON 

WRITING THE MIDDLE AGES & THE RENAISSANCE FOR THE PUBLIC: A CONVERSATION WITH THE AUTHORS 

TUESDAY 23 MAY 2023, 5PM ET // 2PM PT

Sonja Drimmer led a conversation with authors, Vanessa Wilkie and Elizabeth (Beth) Morrison, who discussed 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 shared their journeys to developing an authorial voice for the mass market and took questions from members of the audience.

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

Sonja Drimmer is an Associate Professor of Medieval Art at University of Massachusetts Amherst and the Chair of the Membership Committee for the ICMA.

The video is available to watch on the Special Online Lectures page.

Call for Papers: Superficies–Surfaces, Skins and Textures. Sensory Encounters with Books and related multi-layered objects, Zurich (18-20 January 2024), Due by 30 September 2023

Call for papers

Textures of Sacred Scripture. Materials and Semantics of Sacred Book Ornament

Superficies–Surfaces, Skins and Textures. Sensory Encounters with Books and related multi-layered objects

Institute of Art History of the University of Zurich

18-20 January 2024

Abstracts Due By 30 September 2023

Évangéliaire de la Sainte-Chapelle, BnF, Latin 8851, fol. 1v-2r, 3r, photo: Thomas Rainer, Courtesy: BnF, Département des manuscrits.

The research group “Textures of Sacred Scripture. Materials and Semantics of Sacred Book Ornament” (https://textures-of-scripture.ch) and the Chair of Medieval Art History at the University of Zurich invite paper proposals for an international conference on “Superficies – Surfaces, Skins, and Textures. Sensory encounters with books and related multi-layered objects”. The conference, funded by the Swiss National Science Foundation, is scheduled to take place at the Institute of Art History of the University of Zurich on 18-20 January 2024.

Surfaces are boundaries that mediate our sensory interactions with objects. Surfaces reveal, but they also conceal. In traditional aesthetic discourse, their multiple tactile and visual qualities are often contrasted with depth, and in a pejorative sense, superficiality is opposed to inner virtue and an intellectual understanding of things. This stark opposition between outer surface and inner core is put to the test by multi-layered objects such as books. Here, surfaces abound. Once opened, books in codex format display a multitude of layered skins and textures that are essential for the visual and haptic experience of the object in space and time. Perhaps more than other objects, books tangibly embody the complex relationship between surface and depth, through their composition and spatial structure as multi-layered objects. While the surfaces of sculpture and architecture have recently come to the attention of art historians, the surfacescapes – to use an expression coined by the art historian Jonathan Hay – of books and other multi-layered objects have been far less examined.

The conference aims to take a fresh look at the diversity of surface landscapes in books and other multi-layered objects. From the highly valuable vestments that clothe the exteriors of precious books to the parchment skins of their interiors, all layers are the product of diverse surface treatments. Techniques such as coating, polishing, tooling, and engraving determine the visual and haptic qualities of bindings and pages, and are reflected in their textures and sensory qualities.

We welcome proposals that consider the various surfaces of books and related multi-layered objects, such as handheld foldable objects, albums of prints and papers, multi-layered clothing, accoutrements, and containers. Paper topics may range from antiquity through the Middle Ages and beyond, in all cultures; transcultural studies as well as broader theoretical approaches are also welcome. Discussions across disciplinary boundaries are encouraged. Topics of particular interest are:

  • Surfaces and the multi-layered spatiality and temporality of books and related ob-jects.

  • Ornament as surface and surface as ornament.

  • Surface and ground.

  • The textures, multi-materiality, and sensory qualities of surfaces.

  • The preparation of surfaces to receive writing or painting, and the production pro-cesses concerning surfaces.

  • The material traces of use, damage, and reworking that become inscribed into the surfaces of objects.

  • Surfaces and transparency.

  • The rough and the smooth: tactile dimensions of surfaces.

  • Surfaces in relationship to the human body and its skin.

  • Surfaces and the critique of superficiality.

Speaking time for each paper should not exceed 30 minutes and will be followed by a discussion. The conference languages are English, German, French, and Italian. Submissions should include the title and an abstract (max. 300 words), as well as the name, contact information, and a short CV of the speaker. Proposals should be submitted to the organizers Simon Breitenmoser, David Ganz, and Thomas Rainer by 30 September 2023. Please use the email address thomas.rainer@uzh.ch. The conference is planned as an in-person event. Travel expenses and on-site accommodation of all speakers will be covered.

New Exhibition: Light, Glass & Stone: Convsering the St Cuthbert Window, York Minster, 25 June 2023 - 01 January 2024

New Exhibition

Light, Glass & Stone: Convsering the St Cuthbert Window

York Minster, England

25 June 2023 - 01 January 2024

Explore the medieval St Cuthbert Window through a new exhibition which tells the story of the life and miracles of one of Northern England’s most significant saints.

Take the rare opportunity to see at close range original stained glass panels removed from the window as part of a major conservation project. Newly conserved panels showing some of the key scenes from St Cuthbert’s life including his birth and death have now gone on display in the exhibition for spring 2022.

Visitors can learn about the cathedral’s project which started in spring 2021 to conserve the 600-year-old window, which is one of the largest surviving narrative windows in the world and among the finest remaining examples of the art and techniques of medieval glaziers and stonemasons.

Entrance to the exhibition is free with general admission – book your timed entry ticket here.

Learn more about the conservation project here or support the work by adopting a piece of the window’s stained glass.

Click HERE for information about the accessibility features of this exhibition.

For more information, https://yorkminster.org/whats-on/event/light-glass-stone-conserving-the-st-cuthbert-window/

Call for Papers: Apardjón Journal for Scandinavian Studies, Due By 1 October 2023

Call for Papers

Apardjón Journal for Scandinavian Studies

Due By 1 October 2023

We are pleased to announce our call for papers for the third volume of Apardjón Journal for Scandinavian Studies.

We invite postgraduates, postdoctoral, early career, and established researchers to submit articles that fall within the journal's scope. We are especially interested in interdisciplinary approaches and methodologies within the field of Viking- and medieval Scandinavia, but will also consider papers from different geographies that are connected to the Norse world. Articles should be written in UK English and not exceed 10,000 words. All submissions are expected to present original, previously unpublished scholarship.

Submissions should be sent to our email apardjon@abdn.ac.uk before 1 October 2023. For any queries, do not hesitate to contact the editorial board through our email or social media platforms: facebook.com/apardjon and Twitter @Apardjon1

Apardjón Journal for Scandinavian Studies is an interdisciplinary and Open Access periodical focusing on the Viking and medieval North. Attached to the Centre for Scandinavian Studies at the University of Aberdeen, the journal is a publishing and networking platform for early career researchers.

For more information, https://www.abdn.ac.uk/sdhp/apardjn-journal-for-scandinavian-studies--1802.php

Call for Papers: 2023 North West Medieval Studies Postgraduate Symposium, University of Liverpool (30 August 2023), Due By 18 August 2023

Call for Papers

2023 North West Medieval Studies Postgraduate Symposium

The School of the Arts Library, University of Liverpool

30 August 2023, 10 AM

Abstracts Due By 18 August 2023

Proposals on any topic from Late Antiquity to the Early Modern Period (up to c.1600) are encouraged. Please submit a 250 word max. paper proposal by Friday August 18th to nmsreading@gmail.com.

In your proposal email, please include any dietary restrictions or access requirements we need to be aware of.

The North West Medieval Studies Network was created in 2021 out the M6 Seminar and Reading Group. It aims to provide an inclusive platform for interdisciplinary and cross-institutional collaboration which connects researchers of all stages, from MA students to emeriti, across the North West. For more information, https://northwestmedieval.com/

Call for Papers: Performing Magic in the pre-Modern North, Scottish Society for Northern Studies, University of Aberdeen (In-Person & Virtual, 19-10 November 2023), Due by 31 July 2023

Scottish Society for Northern Studies

Call for Papers

Performing Magic in the pre-Modern North

University of Aberdeen (In-PErson & Virtual)

9-10 November 2023

Abstracts Due By 31 July 2023

Silver figure from the Viking period depicting a woman. Possibly the goddess Freyja. Found at Tissø. National Museum of Denmark

We invite abstract submissions to the third Performing Magic in the pre-Modern North conference, which will take place on 9-10 November 2023.

The conference will focus on magic in ancient, medieval, and early modern Northern Europe. Magic, both as a concept and as a tool, is frequently featured in textual sources of the pre-Modern North. Archaeological studies of the period have also linked burial evidence with ritual practices, proposing that certain tools were used to perform magic.

Topics of interest include, but are not limited to:

  • Crossing boundaries with magic

  • Magic represented in literature

  • Transgression through magic

  • Tools of magical practice

  • Classifications and fluidity of magic

  • Use and intention of magic

  • Magical creations

We are especially interested in interdisciplinary approaches and methodologies for this conference.

Submission guidelines

The language of the conference is English and will be a hybrid event, taking place both at the University of Aberdeen and online. Papers should not exceed 20 minutes and will be followed by 10 minutes of discussion. We encourage student, early career, established and independent researchers to participate. If you wish to present a paper, please email an abstract of 250-300 words alongside a short personal biography that includes your name, pronouns, area of study, institutional affiliation (if relevant), and if you plan to attend the conference in-person or virtually by 31 July 2023 to nate.richardson-read@liverpool.ac.uk

This conference is generously supported by the University of Aberdeen's Development Trust Student Fund and the Scottish Society for Northern Studies.

ICMA AT THE INTERNATIONAL MEDIEVAL CONGRESS, LEEDS 2023: SPONSORED SESSIONS ON 5 AND 6 JULY 2023

ICMA at the International Medieval Congress, Leeds 2023

The Concertina-Fold Book Across Pre-Modern Cultures
Session 1347, Parkinson Building - Room B.11
Wednesday 5 July 2023, 16.30-18.00


Social Agency of Secular Goldsmiths' Work in the Late Middle Ages I: Production
Session 1545,  Esther Simpson Building - Room 2.09
Thursday 6 July 2023, 9.00-10.30

Social Agency of Secular Goldsmiths' Work in the Late Middle Ages II: Use
Session 1645, Esther Simpson Building - Room 2.09
Thursday 6 July 2023, 11.15-12.45

THE CONCERTINA-FOLD BOOK ACROSS PRE-MODERN CULTURES

Wednesday 5 July 2023, 16.30 - 18.00
Session 1347
Parkinson Building - Room B.11

Organiser: Megan McNamee, Edinburgh College of Art, University of Edinburgh
Moderator: Sarah Griffin, Lambeth Palace Library

A Folded Genealogy of Edward IV
Sonja Drimmer, Department of the History of Art & Architecture, University of Massachusetts Amherst

Going Up, Coming Down: Landscape, Verticality, and Time in the Mixtec Screen-Fold Manuscripts of Pre-Hispanic Mexico 
Jamie Forde, Edinburgh College of Art, University of Edinburgh

Tibetan Buddhist Concertina-Fold Books in Qing-Era Beijing
Ben Nourse, Department of Religious Studies, University of Denver

Sponsored jointly by the International Center of Medieval Art (ICMA) and the Andrew W. Mellon Society of Fellows in Critical Bibliography, Rare Book School.  

Virtual attendance of this event is free and open to the public; advance registration required: https://www.eventbrite.co.uk/e/the-concertina-fold-book-across-premodern-cultures-tickets-608348575967

SOCIAL AGENCY OF SECULAR GOLDSMITHS’ WORK IN THE LATE MIDDLE AGES, I: PRODUCTION

Thursday 6 July 2023, 9.00-10.30
Session 1545
Esther Simpson Building - Room 2.09

Organiser: Masha Goldin, eikones - Zentrum für die Theorie und Geschichte des Bildes, Universität Basel and Hila Manor, Department of Art History, Hebrew University of Jerusalem

Moderator: Hila Manor

A Late Medieval Goldsmith’s Workshop 
Jack Ogden, Independent Scholar, London

‘Made with the gold that the Londoners gave to the King’ 
Alison Wright, Department of History of Art, University College London 

Secular and Sacral Entanglements: The Shrine of St Simeon in Zadar as a Mirror of Late Medieval Society 
Mandy Telle, Sonderforschungsbereich 933 ‘Materiale Textkulturen’, Ruprecht-Karls-Universität Heidelberg 

SOCIAL AGENCY OF SECULAR GOLDSMITHS’ WORK IN THE LATE MIDDLE AGES, II: USE

Thursday 6 July 2023, 11.15-12.45
Session 1645
Esther Simpson Building - Room 2.09

Organiser: Masha Goldin, eikones - Zentrum für die Theorie und Geschichte des Bildes, Universität Basel and Hila Manor, Department of Art History, Hebrew University of Jerusalem

Moderator: Masha Goldin

Richard II and the Coronation Regalia: A Case of Duplicated ‘Object-Conversion’ 
Rowanne Dean, Department of Art History, University of Chicago, Illinois

14th-Century Nested Beakers from a Jewish Context: Profane Drinking Vessels or Ritual Objects?
Maria Stürzebecher, Museum Alte Synagoge, Erfurt

Respondent: John Cherry, Independent Scholar, Ludlow 



ICMA RECEPTION 
Wednesday 5 July 2023, 18.30-20.30

Join us for complimentary drinks following the ICMA sponsored session on Wednesday at The Dry Dock, about a 10 minute walk from the Parkinson Building. Look for the ICMA sign! 

All are welcome! Please invite colleagues!

The Dry Dock
Woodhouse Lane
Leeds LS2 3AX

https://www.crafted-social.co.uk/dry-dock-leeds

Conference: England and France before 1500, The 2023 Harlaxton Medieval Symposiumin honour of Dr Jenny Stratford, Harlaxton Manor (England), 14-17 August 2023

Conference

England and France before 1500

The 2023 Harlaxton Medieval Symposium
in honour of Dr Jenny Stratford

Harlaxton Manor, Lincolnshire, England

Monday 14 August – Thursday 17 August 2023

We are delighted to announce that this year’s symposium will be held in honour of Dr Jenny Stratford. The theme will be ‘England and France before 1500’, and the symposium will be held Monday 14 August to Thursday 17 August 2023. Further details, including the programme and booking form, are available here.

Dates and deadlines

The 2023 symposium will be held from Monday 14th to Thursday 17th August at Harlaxton Manor and will be convened by Caroline M. Barron and M. A. Michael. The deadline for residential bookings is Sunday 16th July and for non-residential bookings is Sunday 30th July.

PLEASE NOTE: If you wish to post your booking form, please do so by Monday 17th July for second class post and Monday 24th for first class post to ensure that it is received on time.

For more information, go to https://harlaxton.org.uk/, or contact harlaxtonsymposium@gmail.com

Programme

MONDAY 14TH AUGUST

12.00 Registration opens

12.00 – 1.30 Lunch
1.45 Welcome

2.15 – 3.45 Session 1

Sandy Heslop: A Gift from Charles the Bald and the Formation of the Winchester School of Illumination

Amy Livingstone: Grandmothers and Granddaughters in the twelfth-century Anglo-Norman Realm

3.45 – 4.15 Tea / coffee

4.15 – 6.15 Session 2

David Green: The ‘communities’ of the Plantagenet Empire

Michael Jones: The adventures of a recently re-discovered Breton heraldic tabard

Martha Carlin: How to Shop, Haggle, Work, and Curse in French: Vignettes of Daily Life in the Manières de langage (1396, 1399, and 1415)

6.30 – 7.30 Dinner

7.45 Poster presentations and drinks reception

TUESDAY 15TH AUGUST

7.30 – 8.30 Breakfast

8.45 – 10.15 Session 3

Ann Hedeman: Representing King Richard II in early Fifteenth-century France

Nicholas Rogers: An Image of Henry VI as King of France

10.15 – 10.30 Tea / coffee

10.30 – 12.00 Session 4

Catherine Reynolds: The limits of the archaeology of the book: dating the Bedford Hours

Lucy Freeman Sandler: Speaking Lines: Speech Scrolls in the Bedford Hours

12.30 – 7.30 Visit to the gardens and collections of Winwick Manor, the birthplace of Sir Thomas Malory (packed lunch and on-site dinner provided)

8.30 – Bar open

WEDNESDAY 16TH AUGUST

7.30 – 8.30 Breakfast

9.00 – 10.30 Session 5

Alison Stones: Some French Gothic Manuscripts Made for English Patrons

Scot McKendrick: Psalter of Louis, Duke of Guyenne/Dauphin later of Henry VI (BL, Cotton MS Domitian A.XVII)

10.30 – 11.00 Tea / coffee

11.00 – 12.30 Session 6

Anne Curry: Preparing for Regency: John, duke of Bedford, Henry V and the war in France
Ann Adams: Paris and London: two memorials to Anne of Burgundy, Duchess of Bedford (1404–1432)

12.30 – 1.30 Lunch

2.00 – 3.15 Session 7: The Pamela Tudor-Craig Memorial Lecture

Nigel Morgan and Lynda Dennison: The Queen Mary Psalter: Iconography, Style, Dating and Patronage

3.15 – 4.15 Tea / coffee

4.15 – 5.45 Session 8

Christopher Wilson: Rien de plus joli et de plus surprenant: The tomb of Pope John XXII in Avignon Cathedral

Jeremy Ashbee: Richard II and Portchester Castle 6.45 Reception and book launch

7.30 Conference dinner and poster prize presentation (black tie optional)

8.30 Bar open

THURSDAY 17TH AUGUST

7.30 – 8.30 Breakfast

8.30 – 9.15 Check out of rooms

9.15 – 10.45 Session 9

David Rundle: The library of Humphrey, Duke of Gloucester and his reading habits

James Clark: French Humanism and Reform in Fifteenth-century England

10.45 –11.00 Tea / coffee

11.00 – 12.30 Session 10

Marc Smith: English knights mangled by French hearsay: Edward IV's army of 1475 in Jean de Haynin and Jean Molinet

Nick Vincent: Generational Disjunction at the English and French Royal Courts, 1066-1485

12.30 – 1.30 Lunch and depart

This programme is provisional and may be subject to change.

Conference: HUGO VAN DER GOES: INTERNATIONAL COLLOQUIUM, Berlin, 14-15 July 2023

Conference

HUGO VAN DER GOES: INTERNATIONAL COLLOQUIUM

14-15 July 2023

Vortragssaal (Auditorium), Kunstgewerbemuseum, Kulturforum, Matthäikirchplatz 10785 Berlin

Hugo van der Goes, Monforte Altarpiece, detail, c. 1470/75 © Staatliche Museen zu Berlin, Gemäldegalerie / Dietmar Gunne

Hugo van der Goes (c. 1440-1482/83) was one of the most important European painters of the early modern period. His monumental, emotionally expressive, yet also intimate depictions are among the highlights of their respective collections. Yet unlike most other great artists of his era, no monographic exhibition has ever been dedicated to this Flemish master. The Berlin Gemäldegalerie has now brought together the majority of his surviving works for the first time. To mark the end of the special exhibition “Hugo van der Goes. Between Pain and Bliss” (31 March – 16 July 2023), the Gemäldegalerie, Staatliche Museen zu Berlin and the Kaiser-Friedrich-Museumsverein are organizing an international scholarly colloquium on 14 and 15 July 2023.

Organized by the Gemäldegalerie, Staatliche Museen zu Berlin, and the Kaiser Friedrich Museumsverein

Tickets & registration in advance can be done here.

Ticket for both days: 25 €

The colloquium will be held in English.

More information about the event is available here.

PRELIMINARY PROGRAMM

FRIDAY, 14 JULY 2023

10:30 – 11:00 Registration and Coffee

11:00 – 11:30

Dagmar Hirschfelder, Welcome

Stephan Kemperdick, Introduction to the exhibition Hugo van der Goes. Between Pain and Bliss

11:30 – 13:00

Jan Dumolyn, Did Hugo van der Goes Come from Holland? Sources and Arguments

Leen Bervoets, Patronage of Hugo van der Goes in Perspective: Exceptional or Congruent?

Erik Eising, Hugo van Der Goes: New Suggestions on His Artistic Sources, Based on the Vienna Diptych

13:00 – 14:30 Lunch

14:30 – 16:00

Bernhard Ridderbos, The Dating of the Portinari Altarpiece

Noël Geirnaert, The Death of the Virgin by Hugo van Der Goes: Who Commissioned It and What Was Its Function?

Lorne Campbell, The Trinity Panels and the Ghent Altarpiece

16:00 – 16:30 Coffee break

16:30 – 18:00

Catherine Reynolds, The Trinity, the Virgin, St Ninian and All Saints: Evidence for Reconstructing the Centre Panel of van der Goes’s Trinity Altarpiece

Sven Van Dorst & Niels Schalley, Scanning The Descent from the Cross, a Tüchlein Masterpiece from the Collection of The Phoebus Foundation. New Scientific Insights on Hugo van der Goes’ Distemper Painting Technique

Griet Steyaert, The Restoration of the Death of the Virgin by Hugo van der Goes, Retrieved Traces of Original Elements and the Reconstruction of the Losses

18:15 – 19:30 Exclusive visit to the exhibition Hugo van der Goes. Between Pain and Bliss

SATURDAY, 15 JULY 2023

10:00 – 10:30 Registration and Coffee

10:30 – 12:00

Stephan Kemperdick, The Monforte Altarpiece, Its Possible Patron and the Habsburgs

Melis Avkiran, „maior in persona, et ethiops niger“: Encountering the Black King in Hugo van der Goes’ Monforte Altarpiece

Suzanne Laemers, In the Privacy of Friedländer’s Pocketbook

12:00 – 13:00 Lunch

13:00 – 14:30

Johanna Bork, Curtain, Requisite and Audience. Hugo van der Goes’ Adoration of the Shepherds and further Stage Metaphors

Elliot Adam & Sophie Caron, Reconsidering the Reception of Hugo van Der Goes in France: Jean and Pierre Changenet

Till-Holger Borchert, Simon Marmion and Hugo van der Goes – Any Connection?

Exhibition Closing: Hugo van der Goes: Between Pain and Bliss, STAATLICHE MUSEEN ZU BERLIN PREUSSISCHER KULTURBESITZ, Closes 16 July 2023

Hugo van der Goes: Between Pain and Bliss

31.03.2023 to 16.07.2023
Gemäldegalerie, Staatliche Museen zu Berlin Preußischer Kulturbesitz

Hugo van der Goes, Monforte Altarpiece, detail, c. 1470/75 © Staatliche Museen zu Berlin, Gemäldegalerie / Dietmar Gunne

Hugo van der Goes (c. 1440–1482/83) was the most important Netherlandish artist of the second half of the 15th century. His works impress with their monumentality and intense colours as well as with their astonishing closeness to life and emotional expressivity. 540 years after the artist’s death, Berlin’s Gemäldegalerie will celebrate a premiere: for the first time, almost all of the artist’s surviving paintings and drawings will be presented in one exhibition.

Although Hugo van der Goes must be mentioned in the same breath as pioneering masters such as Jan van Eyck and Rogier van der Weyden, no monographic exhibition has ever been dedicated to his oeuvre. This is likely due to both the rarity of his works and their often large format. Two of his monumental paintings, the Monforte Altarpiece (c. 1470/75) and Nativity (c. 1480), are in the Gemäldegalerie in Berlin. For this reason, the collection lends itself to a special exhibition like no other. Both Berlin panels have been painstakingly restored in the past twelve years and show themselves in a freshness previously unimagined. Van der Goes’ late masterpiece, the Death of the Virgin from the Groeningemuseum in Bruges, which has never left Flanders before, has also been extensively restored recently and will form a highlight of the Berlin show.

Prototype of the “Mad Genius”?

Hugo van der Goes’ biography fascinates today to the same degree as his paintings. The artist, who worked as an independent master in Ghent from 1467 onwards, abandoned his successful worldly career in the mid-1470s for unknown reasons and entered a monastery near Brussels as a lay brother. It was there that most of his preserved works were created. After a few years in the monastery, however, Hugo was suddenly struck by a mysterious mental illness, which a fellow brother later reported: the painter believed himself to be damned and tried to take his own life. In the late 19th century, van der Goes was therefore regarded as the prototype of the “mad genius”, with whom even Vincent van Gogh identified.

Hugos Œuvre Almost in Its Entirety

With around 60 outstanding exhibits, including loans from 38 international collections, the Berlin exhibition will bring the art of Hugo van der Goes to life in a way that has never been seen before. The focus will be on twelve of the fourteen paintings now attributed to van der Goes as well as the two drawings considered to be by his own hand. In addition, compositions by the master that were once well known but lost in the original will be presented through contemporary painted and drawn copies. Lastly, the exhibition will also focus on the painter’s immediate followers with a selection of outstanding works clearly influenced by Hugo van der Goes’ style, such as the spectacular Triptych of Saint Hippolytus from the Museum of Fine Arts, Boston and the famous Nativity by French painter Jean Hey from the Musée Rolin in Autun.

In the Gemäldegalerie, the œuvre of one of the most important European artists at the turn of the early modern period is brought together almost in its entirety for the first time. Van der Goes knew how to portray the emotions of his figures with the greatest empathy – both heavenly bliss and earthly pain. These contradictory states were apparently also closely intertwined in his own life. Thus the late-medieval painter still appears surprisingly modern today.

Curators

The exhibition Hugo van der Goes. Between Pain and Bliss is curated by Stephan Kemperdick, curator of Early Netherlandish and Early German Painting at the Gemäldegalerie, and Erik Eising, assistant curator at the Gemäldegalerie.


The exhibition is supported by the Federal Government Commissioner for Culture and the Media as well as the Kaiser Friedrich Museumsverein. Media partners are: Der Tagesspiegel, Klassik Radio, tipBerlin, and WELTKUNST.

For more information, https://www.smb.museum/en/exhibitions/detail/hugo-van-der-goes/