Postgraduate colloquium: Authority and Identity in the Middle Ages, The Courtauld, London, 15 Mar. 2024, 10:00-16:30

Postgraduate colloquium

Authority and Identity in the Middle Ages

Vernon Square Campus, Lecture Theatre 2, The Courtauld Institute of Art, London

15 March 2024, 10:00-16:30 GMT

Mosaic detail of Roger II receiving the crown from Christ, Church of Santa Maria dell’Ammiraglio, Palermo, Sicily, 12th century. Image: Matthias Süßen, CC BY-SA 4.0 , via Wikimedia Commons

Studies of medieval art have often focused on works of art featuring, or patronised by, those in positions of authority.  More recently scholars have moved towards a wider understanding of the ways in which works of art established a sense of authority and impacted the identity of the communities who viewed and used them.  However, concepts of ‘authority’ and ‘identity’, and their complex interrelationship, are rarely interrogated in a holistic way.

The two concepts are often inextricably linked.  Identities were shaped by those in positions of authority; images endowed with ‘authority’ could influence how those interacting with them self- identified; patrons claimed authority through images, often forging their public identity as charitable, pious figures.  But what does it mean to claim authority in the Middle Ages?  And what exactly did it mean to have an identity?  Even today, these concepts are complex and multi-faceted – most notably one self-identification can differ dramatically from that imposed by others.

In this colloquium, we want to address these topics afresh, exploring how art and material culture reflect and produce concepts of identity and authority.  We will also consider how alternative perspectives could reinforce or subvert ideas of an authoritative voice or image.

Programme

The colloquium begins at 10am at The Courtauld Institute of Art in Vernon Square.

Session 1 – Power of Popes and the Shaping of Monastic Identity 
Chaired by Sam Truman, Courtauld PhD student.

Emma Iadanza, Courtauld PhD student, ‘A New Reconstruction of Leo X’s Liturgical Manuscripts’.
Vittoria Magnoler, PhD student, University of Genoa, ‘Stating the Authority of Aquinas. The Triumph by Bonaiuti as an Identity Manifesto of the Dominicans of Santa Maria Novella’.
Blanche Lagrange, PhD Student, University of Poitiers (CESCM), ‘The reform at Saint-Bertin during the 10th century: new institutional authority and identity in Boulogne-sur-Mer, BM, MS. 107’.

12.15 – 13.15: Break

Session 2 – Religion and Shaping of Individual Identity 
Chaired by Sophia Dumoulin, Courtauld PhD student.

Sophia Adams, Courtauld PhD student, ‘“Þat tyme þis schrowyll I dyd wryte”: Canon Percival of Coverham’s Prayer Roll, Morgan Library and Museum, Glazier MS 39’.
Natalia Muñoz-Rojas, Courtauld PhD candidate, ‘ “We first settlers”: The altarpieces of San Bartolomé and Virgen de la Antigua in the Parish Church of San José in Granada’.
Lucy Splarn, PhD student in the Centre for Medieval and Early Modern Studies at the University of Kent, ‘The identity of pilgrims through the art of souvenirs’.

14.45 – 15.15: Break

Session 3 – Church Architecture and Shaping of Community Identity
Chaired by Helen Dejean.

Florence Eccleston, Courtauld PhD student, ‘Moral and Political Identity in Late Medieval English Wall Paintings of Sin’.
Klaudia Sniezek, PhD student, Jagiellonian University in Cracow, ‘Unveiling Identities in Stone: Burial in the Portico of Czerwinsk Abbey’.
Isabelle Chisholm, MPhil student, University of Cambridge, ‘The “Afterlife” of The Rajhrad Dormition of the Virgin (1375-1380): defining Czech Nationaism Across Transcultural Impulses’.

16.45: Drinks Reception

Organised by Courtauld PhD students Jane Stewart, Laura Feigen, Irakli Tezelashvili and Florence Eccleston. 

For more information and to book tickets, https://courtauld.ac.uk/whats-on/authority-and-identity-in-the-middle-ages/

Call for Papers: VELUM TEMPLI. VEILING AND HIDING THE SACRED, 2nd Colloquium on Art and Liturgy Cádiz, Spain (17-19 October 2024), Due by 1 April 2024

Call for Papers

VELUM TEMPLI. VEILING AND HIDING THE SACRED

2nd Colloquium on Art and Liturgy Cádiz

Facultad de Filosofía y Letras. University of Cádiz, Spain, 17-19 October 2024

Abstracts Due By 1 April 2024

The veiling or hiding of the sacred has been a constant feature of Christian worship since its late Antique origins. With powerful precedents in the temple of Jerusalem, as well as in paganism, it is a characteristic that tends to be associated with Eastern Christianity and its iconostasis. However, it was also practised by the Latin church, in whose early Christian basilica the vision of the altar of the Eucharistic sacrifice was already limited and dosed. This ritual attitude, which continued throughout the Middle Ages and even beyond, took the form of veils and curtains suspended from the pergolas or beams that divided the presbytery from the rest of the nave, or using the tetravela that ran along the rails of the baldachins that covered the altars.

Guillaume Durand, in the 13th century, describes in detail the practices that were established at that time, including the great velum templi of Gallican origin, a piece that would be kept for centuries during Lent as a living vestige of this liturgical practice. Several examples of notable antiquity have survived, as does the memory of its use.

Closely related to this, the veneration of sacred images was also marked by a desire for safe preservation, as can be inferred from the design of medieval tabernacles and winged altarpieces. Both took part in the wish to protect physically the paintings and sculptures and a desire for gradualness in the vision of the mystery of the sacred that the images themselves embody. In Spain, the extraordinary development of the altarpiece required bold, eyecatching solutions for its concealment, such as the enormous doors of some Aragonese examples or the woven twills which, when unfolded, are a sort of trompe l'oeil of the work they conceal.

Relics, sacred vessels and even the consecrated Host itself have also been the object of ritually regulated display and concealment, depending on the feasts of the liturgical year or the specific moment of the sacred ceremony taking place in the church. To satisfy this need for visual preservation, reliquary cabinets, the curtains of expositors and tabernacles or chalice veils were created during the Middle Ages, among other pieces of furniture that have also undergone formal and ornamental reformulations during the Renaissance, the Baroque and later.

Through the diachronic and transhistorical study of the phenomenon of display and concealment, this 2nd International Meeting on Art and Liturgy of the University of Cadiz aims to recover for the History of Art the memory of these singular works within the context of the cultic functionality with which they were conceived, where they also acted as vectors of ephemeral transformation in the visual appearance of the temples. For this purpose, renowned specialists such as Eduardo Carrero Santamaría, Fernando Gutiérrez Baños, Josefina Planas Bádenas, Antonio Sántos Márquez and Héctor Ruiz Soto, among others, will take part.

CALL FOR PAPERS

We invite the academic community to submit abstracts in Spanish, English, Italian and French consisting of a 500-700 word summary highlighting the innovative nature of the paper together with the chosen session and a brief curriculum vitae before 1 April 2024 to the following address: arteyliturgia@uca.es The organising committee shall acknowledge receipt of submissions and select those considered most closely aligned with the meeting objectives, responding before 15 May 2024. Following peer review, these will be published in a monograph. Texts should be sent by 15 November 2024.

PAPERS AND COMMUNICATIONS WILL BE DELIVERED IN FOUR SESSIONS

Session I. Ritual occultation in liturgical, literary and graphic sources.

Testimonies of synods and councils, rubrics in missals, references in customary books, testimonies in travel books. Graphic sources: paintings, drawings, engravings, manuscript illumination and historical photography.

Session II. Veils and altar curtains in the context of Latin Christianity.

Velum templi, Velum quadragesimal, lateral curtains, etc. Origins, typological evolution and local particularities.

Session III. The veiling of crosses, images, relics and sacred vessels.

Liturgical, devotional and conservation aspects. Reliquary cabinets, display ceremonies.

Session IV. From the medieval open tabernacle to the great Baroque altarpieces.

Functional principles and devotional implications.

SPEAKERS REGISTRATION

Speakers: 40 €

Speakers members of CEHA: 20 €

In both cases, the registration includes a copy of the book with the proceedings of the Meeting. After acceptance, speakers will have until 15 June 2024 to pay the registration fee via bank transfer to the University of Cádiz account (Banco de Santander: IBAN ES48 0049 4870 8529 1609 2739; SWIFT: BSCHESMM).

IMPORTANT: The concept of the transfer should be ARTEYLITURGIA followed by the speaker’s SURNAME and NAME. The speaker should send a copy of the bank transfer receipt via email to arteyliturgia@uca.es

For more information: https://arteyliturgia-uca.weebly.com/

For a PDF of the Call for Papers which contains more information: https://arteyliturgia-uca.weebly.com/uploads/1/4/0/5/140580493/cfp_ingl%C3%A9s.pdf

East of Byzantium Lecture Series: Political Rituals and Urban Communities in Cilician Armenia, Gohar Grigoryan, 27 Feb. 2024, 12:00PM (Online)

East of Byzantium Lecture Series

Political Rituals and Urban Communities in Cilician Armenia

Gohar Grigoryan, University of Fribourg

Tuesday, February 27, 2024 | 12:00 PM (EST, UTC -5) | Zoom

The Mary Jaharis Center for Byzantine Art and Culture and the Mashtots Professor of Armenian Studies at Harvard University are pleased to announce the next lecture in the 2023–2024 East of Byzantium lecture series.

Outdoor rituals were among those rare occasions when medieval rulers and ruling aristocracies could be seen in person and inspected publicly. As in many medieval societies, so also in the Armenian kingdom of Cilicia (1198–1375), these public ceremonies were almost always performed in front of urban communities. While the political and propagandistic concerns of these aesthetic enactments come as little surprise, the present lecture will address the question from the point of view of those city inhabitants who were to contemplate—and in some cases, to partake in—the carefully organized and well-pondered rituals of the men of power.

Gohar Grigoryan is a senior researcher at the University of Fribourg, Switzerland, Department of Art History and Archaeology. She received her PhD from the same university in 2017 for her dissertation on royal images in Cilician Armenia. She is the author of many essays on medieval Armenian art and history and co-editor of three books, including, most recently, Staging the Ruler’s Body in Medieval Cultures, published by Brepols/Harvey Miller (2023).

Advance registration required. Register: https://eastofbyzantium.org/upcoming-events/political-rituals-and-urban-communities-in-cilician-armenia/

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

An East of Byzantium lecture. EAST OF BYZANTIUM is a partnership between the Mashtots Professor of Armenian Studies at Harvard University and the Mary Jaharis Center that explores the cultures of the eastern frontier of the Byzantine empire in the late antique and medieval periods.

Exhibition Ending: The Year 1000: The Netherlands in the Middle of the Middle Ages, National Museum of Antiquities, Leiden, Until 17 March 2024

Exhibition Ending

The Year 1000: The Netherlands in the Middle of the Middle Ages

National Museum of Antiquities, Rapenburg 28, 2311 EW LEIDEN, netherlands

Until 17 March 2024

This winter, the Dutch National Museum of Antiquities (Rijksmuseum van Oudheden in Leiden) is going back in time over a thousand years with the grand overview exhibition 'The Year 1000'.

The middle of the Middle Ages, the period 900-1100, often seems an episode in history where nothing happened. But for what is now the Netherlands, these are in fact times of great changes in landscape, construction, climate, language and society. The exhibition takes visitors on a colourful time journey through the landscape of this medieval world, with the year 1000 as its final destination. The journey brings visitors close to the people of this time at the imperial residence in Nijmegen, the cathedral of Utrecht, the treasuries of Maastricht, the Rome of a thousand years ago and the wealth of Byzantium. On display are over four hundred archaeological finds, artefacts and manuscripts from the Netherlands and far beyond. A starring role is reserved for the 'power couple' Empress Theophanu and her husband Otto II. ‘The year 1000' is an exhibition for young and old and will be on display from 13 October 2023 through 17 March 2024.

In the period 900-1100, a 'Netherlands' emerged that is still recognisable today, with dykes around reclaimed land, a fortress after every river bend and church towers on the horizon. The Netherlands is ruled by bishops and belongs to the 'Holy Roman Empire'. These are also the centuries when Eastern and Western knowledge are widely exchanged: music notation, the number 0 and chess are new arrivals in the Netherlands. At the end of the millennium, the end of the world was expected. People saw omens in solar eclipses, floods and comet appearances. But in the end ... nothing happened. The exhibition tells the stories of these medieval people, about their daily lives, their ideas about the world and expectations of the turn of the millennium. Almost all important Dutch archaeological finds from the period 900-1100 can be seen in 'The year 1000'. On display are, among other things, a Viking drinking horn from the Basilica of Our Lady in Maastricht and the famous Egmond Gospels from the KB, National Library of the Netherlands, swords, ship's timbers, gold jewellery including the recently found treasure find from Hoogwoud, coin hoards, books full of precious stones, the pectoral cross of Saint Servatius, the oldest chess pieces in the Netherlands and a wooden ladder from a well.

Besides Leiden's own collection, there are numerous loans from the Netherlands and abroad. These include important pieces from international collections such as the Castello Sforzesco (Milan), the National Museum of Finland (Helsinki) and the Landesmuseum Kassel. In addition, there are loans from more than forty Dutch museums, heritage institutions and private collections including the National Numismatic Collection (Amsterdam), Museum Catharijneconvent (Utrecht) and the Fries Museum (Leeuwarden).

For more information, click here (National Museum of Antiquities) and click here (Leiden International Center).

Call for Papers: Immured Relics – Display, Signs and Memory, Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte, Rome (28-29 November 2024), Due By 18 March 2024

Call for Papers

Reliquie murate – allestimenti, segni e memoria /// Immured Relics – Display, Signs and Memory 

Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte, Rome

28–29 November 2024

Due By 18 March 2024

This workshop is to explore the relation between relics and architecture. First and foremost, we are interested in cases of relics physically built into the architectural fabric of churches and chapels, such as columns whose capitals have been equipped with relics, triumphal arches or the apse’s semi-dome with relic depositories, “secret chambers” or even foundations and walls fortified by holy material. In order to capture the variety of the phenomenon we decided to exclude the “standard case” of relics in direct relation to the Christian altar, mandatory since the 8th/9th century, as well as relics kept in sacristies or treasury chambers in which all the relics and reliquaries owned by a given church are kept. We are interested in the mise-en-scène of specific relics in a fixed and architectonically defined surrounding. Since no systematic overview documenting this phenomenon is available, we aim at establishing a taxonomy of immured relics, in order to ask, in a next step, why these and not other places in the sacred space where chosen to house a relic.

Another important aspect we would like to address is the question of presence, visibility and signalization or indication of immured relics. The act of immuring can be considered both a way of incorporating relics permanently into the architectural fabric as well as hiding and securing relics from theft. In which cases was such presence signaled? Is there a shift in the value of the visibility of relics over their mere presence (or some exclusive knowledge of their presence) that can be explained by changing customs with regard to relic veneration? Do some typologies of immured relics occur only at certain moments in time and at certain places or are the adopted solutions rather indifferent to chronology and geography? We would like to include examples ranging from Late Antiquity to the High Middle Ages (until 1300) on a global scale. Although our personal focus is on Christian relics, we are explicitly interested in relic practices of other religious contexts, in order to investigate the respective specificities of relic deposition in architecture. We would like, as well, to consider phenomena of persistence of practices of immuring relics, both as a legacy of Antiquity and as a tenacity of the medieval tradition in the Modern Age.

We seek contributions of about 20 minutes in Italian or English. The organizing institution will cover travel and accommodation costs for the speakers. 

If you are interested, please upload an abstract of the planned talk (max. 350 words) and a short CV (max. 2 pages) on the following platform by 18 March 2024: https://recruitment.biblhertz.it/position/13565973

For any further information, please write to the scientific organizers: Maddalena Vaccaro (mavaccaro@unisa.it) and Adrian Bremenkamp (bremenkamp@biblhertz.it).

For more information, https://www.biblhertz.it/3464358/240103_CfP_Immured-Relics-_-Display_-Signs-and-Memory

Careers for Medievalists?, Vernon Square Campus, Lecture Theatre 2, Courtauld Institute of Art, London, 16 March 2024, 10:00-17:30 GMT

Careers for Medievalists?

16 MarCh 2024, 10:00-17:30 GMT

Vernon Square Campus, Lecture Theatre 2, Courtauld Institute of Art, london

Sponsored by the British Archaeological Association, this event aims to demonstrate the range of career options available to medievalists, especially those studying in Art History and adjacent disciplines such as History, Archaeology and Heritage Studies. Recent graduates and those in recruitment positions will offer tips and advice on a range of careers, including

  • Heritage and Conservation

  • Curating and the art market

  • Tour guiding and freelancing

  • Universities

  • Archives and libraries

  • Publishing and editing

Tickets cost £12, which covers the lunch, tea/coffee and cake provided to all attending. Talks will also be recorded and posted online after the event.

In recognition of the need to diversify the field of medieval studies, the British Archaeological Association can offer a limited number of bursaries to subsidize ticket and travel costs. For further details follow this link.

The event will run from 10-5.30pm on Saturday 16th March, and follows The Courtauld’s Medieval Postgraduate Colloquium on Friday 15th March. It will be held in the lecture theatre at The Courtauld’s Vernon Square campus in London, a 10-minute walk from Kings Cross Station.

Organised by Dr Tom Nickson (The Courtauld)

To Book Tickets: https://courtauld.ac.uk/whats-on/careers-for-medievalists/

International Cultural Workshop: REDISCOVERING THE CULTURAL HERITAGE OF UPPER SVANETI, GEORGIA (26 July - 4 August 2024), Mestia, Svaneti, Due 15 March 2024

International Cultural Workshop

REDISCOVERING THE CULTURAL HERITAGE OF UPPER SVANETI, GEORGIA

26 July – 4 August 2024, Mestia, Svaneti

Due 15 March 2024

https://old.tsu.ge/en/

This project takes place in Upper Svaneti, the spectacular mountainous region of Western Georgia, which not only has an abundance and variety of cultural heritage, but also a unique way of life. Even today, the local population preserves various pre-Christian beliefs and rituals. In Upper Svaneti, medieval churches and residences with defense towers have been preserved in their original forms. Almost all these churches are decorated with paintings, and  original treasuries are kept in most of them: medieval painted and revetted icons, crosses, ecclesiastic vessels created in local workshops or many other regions of the Christian East and the West. Exposure to this extraordinary material will provide all students of medieval art with an entirely new perspective on their field.

The ten-day workshop will enable ten PhD and MA students to visit significant monuments of cultural heritage in Upper Svaneti, to take part in discussions on-site, and to engage in various field activities.

The workshop will be held in English.

The International Cultural Workshop is organized by the Institute of Art History and Theory at Ivane Javakhishvili Tbilisi State University, in cooperation with the College of Arts & Sciences at Syracuse University and the Art History Department at Rutgers, the State University of New Jersey. The project partner is the Svaneti Museum of History and-Ethnography.

The International Cultural Workshop (RCHUS) is funded under the US Embassy Georgia Cultural Small Grants Program.\

Application period
22 January to 15 March 2024 (00:00/Georgian Time Zone: UTC + 4)
The selection results will be announced on 8 April.

Eligibility
Applicants of any nationality must currently be enrolled in an MA or PhD program in Medieval or Byzantine art history or a related field.

Documents to be submitted:

Application form with other three documents:

– Curriculum vitae (with list of publications/presentations, maximum 3 pages)

– Cover letter outlining interest in the program (maximum 300 words)

– Recommendation letter

The application must be in English.

See here for Application form: https://forms.gle/GLAacswWY5VBHDrk7

Fees and Funding

The International Cultural Workshop (RCHUS) is free of charge: will cover travel from Tbilisi to Mestia, field trips, hotel accommodation and meals in Upper Svaneti.

The workshop participants must cover their own international flights to and from Georgia, and hotel accommodation in Tbilisi. However, there are limited funds for participating students in the project budget for partial covering the international transportation and accommodation in Tbilisi. Please clarify your need for funding on your Application form.

For further information, please contact: svaneti.workshop@gmail.com

Call for Applications: Summer Course for the Study of the Arts in Flanders 2024 ‘Medieval and Renaissance Sculpture’, 23 June - 3 July 2024, Due By 10 March 2024, 5PM CET

Call for Applications

Summer Course for the Study of the Arts in Flanders 2024 ‘Medieval and Renaissance Sculpture’

23 June 2014- 3 July 2024, BelGium

Due By 10 March 2024, 5 p.m. (Central European Time).


Annually, the Summer Course for the Study of the Arts in Flanders brings a select group of 18 highly qualified young researchers to Flanders. They are offered an intensive 11-day programme of lectures, discussions, and visits related to a specific art historical period of Flemish art. The Summer Course provides the participants with a clear insight into the Flemish art collections from the period at hand, as well as into the current state of research on the topic.

The 8th edition of the Summer Course will focus on ‘Medieval and Renaissance Sculpture’. It will be held from 23 June until 3 July 2024. Excursions will be made to Leuven, Antwerp, Brussels, Bruges, Mechelen, Breda, Rotterdam, Maastricht, Liège, Aachen, Geel, Zuurbemde, Zoutleeuw. The language of the Summer Course is English.

More information on the programme, grants, how to apply, ... on bit.ly/summercourse8

The Summer Course for the Study of the Arts in Flanders is a joint initiative of: M Leuven, KMSKA, MSK Gent, Musea Brugge, Mu.ZEE, Ghent University, KU Leuven, Rubenshuis/Rubenianum, Flemish Art Collection, meemoo.

Structural content partners for this edition are: Royal Institute for Cultural Heritage (KIK-IRPA), Royal Museums of Art and History Brussels.

This edition is coordinated by: Flemish Art Collection, meemoo and M Leuven.

DH Institute in Vercelli: Medieval Manuscripts in a Modern World, Museo del Tesoro del Duomo e Archivio Capitolare di Vercelli, Application Due 15 February 2024 (Rolling Until 1 March 2024)

DH Institute in Vercelli: Medieval Manuscripts in a Modern World

Museo del Tesoro del Duomo e Archivio Capitolare di Vercelli

First-round application deadline: February 15
Final application deadline: March 1

Before and After MSI processing on one of the Vercelli Scrolls

The Videntes Team and staff of the Museo del Tesoro del Duomo di Vercelli are excited to announce that registration is open for our Digital Humanities summer institute in Vercelli, Italy in June 2024.

The institute will begin with an optional welcome aperitivo the evening of June 16th. Workshops and lessons will begin the morning of June 17th and continue through the afternoon of Saturday, June 22nd.

To apply, please fill out the Google application form, which will include a current CV or resume and statement of interest. For first round consideration, the application deadline is February 15 (applicants will be notified by February 23, 2024). Rolling applications will continue to be accepted through March 1, 2024.

Please find attached the flyer for the institute. If you have further questions, please contact us via the website comment form or email us at videntesmsi@gmail.com.

For more information, see https://videntesmsi.com/medieval-manuscripts-in-a-modern-world/

Mary Jaharis Center for Byzantine Art and Culture: Byzantium as Europe’s Black Mirror, Anthony Kaldellis, 16 February 2024 12:00 PM EST (ZOOM)

Mary Jaharis Center for Byzantine Art and Culture

Byzantium as Europe’s Black Mirror

Anthony Kaldellis, University of Chicago

Friday, February 16, 2024 | 12:00 PM EST | Zoom

The Mary Jaharis Center for Byzantine Art and Culture is pleased to announce the 2023–2024 edition of its annual lecture with the Harvard University Standing Committee on Medieval Studies.

In the course of its long self-fashioning, “the West” (later “Europe”) set itself off as a superior alternative to a number of imagined Others, including the infidel world of Islam, the primitive nature of the New World, and even its own regressive past, the Middle Ages. This lecture will explore the unique role that Byzantium played in this process. While it too was identified as the antithesis of an idealized Europe, this was done in a specific way with lasting consequences down to the present. Byzantium was constructed not to be fully an Other, but rather to function as an inversion of the Christian, Roman, and Hellenic ideals that Europe itself aspired to embody even as it appropriated those patrimonies from the eastern empire. It became Europe’s twin evil brother, its internal “Black Mirror.” Once we understand this dynamic, we can chart a new path forward for both scholarly and popular perceptions of the eastern empire that are no longer beholden to western anxieties.

Anthony Kaldellis is a Professor of Classics at the University of Chicago.

Advance registration required at https://maryjahariscenter.org/events/byzantium-as-europes-black-mirror.

This lecture is co-sponsored by the Harvard University Standing Committee on Medieval Studies.

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

Online Discussion: Now You See It, Now You Don’t: Sustainable Access in a Digital Age, Wednesday 7 Feb. 2024, 17:00-18:30 GMT/14:00-15:30 EST

Online Discussion

Now You See It, Now You Don’t: Sustainable Access in a Digital Age

Wednesday 7 February 2024, 17:00-18:30 GMT/14:00-15:30 EST

The interruption in digital services at the British Library has called into question our reliance on online systems to consult medieval manuscripts. in an unexpected twist, the cyber attack simultaneously put the physical manuscripts at the British Library out of reach also. This timely conversation will reflect on the current situation, offering perspectives on sustainability and how we might rethink our practices after this startling reminder of the ephemeral nature of the digital.

Speakers will include Benjamin Albritton, Stewart J. Brookes, Stephen G. Nichols, Suzanne Paul, Dot Porter, Andrew Prescott, and Elaine Treharne

Moderated by Laura Morreale

Organized by Digital Medievalsit and kindly hosted online by the Centre for the Study of Book, Bodleian Libraries

To register, visit this link.

Medieval Lecture and Seminar Series: Chivalry, justice and love: Royal architecture in fourteenth-century Castile, Elena Paulino-Montero, At The Courtauld, 6 Mar. 2024 17:30-19:00

Medieval Lecture and Seminar Series

Chivalry, justice and love: Royal architecture in fourteenth-century Castile

Dr. Elena Paulino-Montero, Universidad Nacional de Educación a Distancia

VERNON SQUARE CAMPUS, LECTURE THEATRE 2, THE COURTAULD

Wednesday 6 March 2024, 17:30 - 19:00

Crónica troyana (c. 1350). Biblioteca del Escorial. Ms. h-I-6, f. 13v.

14th-century Castile was characterized by great creativity in the field of architecture, culminating with the construction of the famous Alcazar of Seville and reforms to the Alcazar of Segovia. Those monuments were possible thanks to the previous decade’s artistic experimentation in which cross-cultural exchanges with al-Andalus and the Mamluks played a key role. During this time, the kingdom of Castile was marked by a profound political crisis and architecture, sculpture and literature were crucial in the construction of an ideal image of power, in which queens assumed a leading role.

This talk will analyze the process of codification of royal spaces in Castile in the 14th century. The objective is twofold. On the one hand, it will analyze the development of this architecture in parallel to the development of a courtly and chivalrous image of the Castilian monarchs in which Islamic models played a fundamental role. On the other hand, it will present the active role of the queens in the realm of architecture.

Elena Paulino-Montero is lecturer of Medieval Art at the Universidad Nacional de Educación a Distancia. Previously she was assistant professor at the Complutense and postdoctoral fellow at the UNED. Her research is devoted to patronage and transcultural artistic during the Late Middle Ages in the Iberian Peninsula. She is part of the Cost-Action 18129 “Islamic Legacy. Narratives East, West, South North of the Mediterranean (1350-1750)”. She is also the principal investigator of the project “Women and the Arts in Medieval Castile: Patronage, reception and agency”, funded by the Spanish Ministry of Science and Innovation.

Organised by Dr Tom Nickson (The Courtauld) as part of the Medieval Lecture and Seminar Series. 

For more information and to book tickets, visit https://courtauld.ac.uk/whats-on/chivalry-justice-and-love-royal-architecture-in-fourteenth-century-castile/

Panel Discussion and Book Launch: Venetian Disegno: New Frontiers, The Courtauld, London, 8 Feb. 2024, 17:00-18:30

Panel Discussion and Book Launch

Venetian Disegno: New Frontiers

Vernon Square Campus, Lecture Theatre 2, The Courtauld, London

8 February 2024, 17:00 - 18:30

Vittore Carpaccio, Studies of a Seated Youth in Armor, The Metropolitan Museum of Art, New York

The relationship between disegno (drawing or design) and Venetian art has historically been a problematic one. Giorgio Vasari’s notion that painters from Venice and the Veneto were mainly focused on colore and not trained in or accustomed to drawing became a commonplace in the literature on Venetian art. The title of this book, Venetian Disegno, would for him imply an unacceptable paradox. This view can no longer be sustained in light of modern scholarship, and it is clear that drawing played a crucial role in the education and the artistic practice of artists from Venice and the Veneto region. From the fifteenth onwards, drawing was a vital form of expression in Venice. With contributions by 23 leading scholars and curators, Venetian Disegno offers a fresh perspective on Venetian art, illustrating the importance of disegno and the study of drawings for artistic practices in the lagoon city.

Organised by Irene Brooke, Lecturer in Renaissance Art, The Courtauld; Ketty Gottardo, Martin Halusa Senior Curator of Drawings, The Courtauld; Guido Rebecchini, Professor of Sixteenth-Century Southern European Art, The Courtauld.

Dr. Maria Aresin is a specialist in the field of Venetian drawing. She earned a PhD from the University of Frankfurt. Since 2020-21 she has been assistant curator of the catalogue of Venetian drawings at the Staatliche Graphische Sammlung in Munich. In 2022 she was Head of Prints and Drawings at the Landesmuseum Mainz. Since May 2023 she has been curator for works on paper (15th to 18th centuries) at the Kupferstichkabinett of the Kunsthalle Bremen.

Dr. Paul Holberton has published extensively on the art of the Venetian Renaissance and runs Paul Holberton Publishing which is recognised internationally as one of the finest publishers of books on art. His most recent scholarly work, A History of Arcadia, is a long-awaited study of the pastoral genre in textual and visual sources from the classical though the early modern period.

For more information and to book tickets, visit https://courtauld.ac.uk/whats-on/venetian-disegno-new-frontiers/

Call for Applications: Grants for Research on Chartres Cathedral for PhD Candidates and Emerging Scholars, The American Friends of Chartres, Due 29 March 2023

Call for Applications

Grants for Research on Chartres Cathedral for PhD Candidates and Emerging Scholars

The American Friends of Chartres

Due 29 March 2023

The American Friends of Chartres annually offers a stipend of  $2,500.00 to current graduate students and emerging scholars to carry out research projects that promise to advance knowledge and understanding of the cathedral of Notre-Dame de Chartres or its historical contexts in the medieval to early modern periods. The grants support projects requiring on-site research in Chartres. Topics in the fields of art history, history, or related disciplines might include architecture, stained glass, sculpture, urban development, economy, religious practices, manuscripts, or the cathedral treasury, among other topics. Following the research project, the grantee is asked to provide a synopsis of the research and conclusions, which will be publicized through the cultural activities and website of the American Friends of Chartres. 

The American Friends of Chartres facilitates lodging in Chartres for grant recipients, as well as access to the cathedral, the Centre International du Vitrail, the municipal library, archival collections and related resources.

Questions about the grant may be addressed to ChartresResearchGrant@gmail.com.

Applicants should currently be pursuing a Ph.D. or have received the degree within the last six years.

Applicants should supply:

  • A description of up to 500 words of the proposed project, including:

    • questions to be researched and their importance to scholarship on the art, culture, or history of Chartres;

    • requirements for access to monuments, works of art, and archival resources;

    • projected length of time and tentative dates to be spent in Chartres;

    • expectations for publication of conclusions, whether alone or as part of a larger project, including a Ph.D. dissertation, article, or book.

  • A current Curriculum Vitae

  • Names and contact information of two references

Please send application materials as e-mail attachments in Word or PDF format to ChartresResearchGrant@ameliahyde

The deadline for applications is 29 March 2024.

To learn more about the application, visit https://sites.google.com/view/chartres-research-grants/home, and to learn more about the American Friends of Chartres, visit https://www.friendsofchartres.org/

The Servane de Layre-Mathéus Fund for Research on Chartres Cathedral
The American Friends of Chartres has established a special fund honoring the memory of Servane de Layre-Mathéus (1939-2020), co-founder of Chartres–Sanctuaire du Monde, of the Centre International du Vitrail, and of American Friends of Chartres. Servane dedicated much of her life to the preservation of Notre-Dame de Chartres Cathedral, and to the pursuit and transmission of knowledge of medieval art, culture, and spirituality. In recognition of her contributions, she was made chevalier of the Légion d’honneur, officier des Arts et des Lettres, and officier de l’ordre national du Mérite. The fund is intended to support research that furthers her work.

Lecture, The Murray Seminars at Birbeck: Faith, Race and the ‘Other’ in North Italian Sculpture, c.1480-1700, Andrew Horn, 6 Feb. 2024 12:00-13:30 GMT (7:00-8:30 ET) In-Person & Online

Lecture, The murray Seminars at Birbeck

Faith, Race and the ‘Other’ in North Italian Sculpture, c.1480-1700

Dr. Andrew Horn, Associate Lecturer, School of Art History, University of St Andrews

Tuesday, 6 February 2024 12:00 - 13:30 GMT

In-Person (Birkbeck, School of Historical Studies) & Online

Northwest Italy in the early modern period witnessed a flourishing of religious sculptural ensembles, rendered in polychrome terracotta and wood, representing scenes from Christ’s Passion and death. Works of this genre range from intimate scenes of the Deposition and Lamentation above altars in churches, to series of elaborate multimedial chapels situated on the ‘Sacri Monti’, pilgrimage sites at the foot of the Italian Alps. In addition to the main protagonists, the dramatic cast of these ensembles often feature characters whose skin colour, costume or physical characteristics identify as non-European, non-Christian or in some way set apart from European Christian society of the time. Examining a selection of these artworks in relation to devotional treatises, religious plays and historical records of public policy from the sixteenth and seventeenth centuries, this paper considers what the representation of these outsiders––these ‘others’––may reveal about faith and society in premodern Europe. What roles do such figures serve within the drama of Christian salvation history?

To register to attend online, click this link.

To register to attend in-person, click this link.

Call for Applications: Ochs Scholarship, British Archaeological Association, Due 1 February 2024

Call for Applications

British Archaeological Association

Ochs Scholarship

Due 1 February 2024

The Ochs Scholarship was established in 1994 from a bequest by Maud Lillian Ochs, and is awarded annually by the British Archaeological Association for research projects which fall within the Association’s fields of interest. These are defined as the study of archaeology, art and architecture from the Roman period until the nineteenth century, principally within Europe. The scholarships are intended to provide post-graduate students striving to write up theses with late stage funding. To be eligible  the thesis must be capable of completion within the period of the Scholarship, which is for one year from a nominated starting date by the end of the calendar year in which the scholarship is awarded. Thus, an application made in early 2024 might have a nominated starting date of October 2024 and result in the submission of a thesis by October, 2025. Applications where a substantial amount of fieldwork remains to be done are unlikely to succeed.

The next closing date for applications is 1 February, 2024.

For more information, https://thebaa.org/scholarships-awards/ochs-scholarship/

Exhibition Closing/Moving: Ethiopia at the Crossroads, The Walters Art Museum, Baltimore, Until 3 March 2023

Exhibition Closing/Moving

Ethiopia at the Crossroads

Centre Street Building, Level 1

The Walters Art Museum, Baltimore, Maryland

3 December 2023-3 March 2024

Folding Processional Icon in the Shape of a Fan (detail), Ethiopia, late 15th century. Museum purchase with funds provided by the W. Alton Jones Foundation Acquisition Fund, 1996.

The Walters Art Museum presents an extraordinary exhibition celebrating the artistic traditions of Ethiopia from their origins to the present day. Ethiopia at the Crossroads is the first major art exhibition in America to examine an array of Ethiopian cultural and artistic traditions from their origins to the present day and to chart the ways in which engaging with surrounding cultures manifested in Ethiopian artistic practices. Featuring more than 220 objects drawn from the Walters’ world-renowned collection of Ethiopian art and augmented with loans from American, European, and Ethiopian lenders, the exhibition spans 1,750 years of Ethiopia’s proud artistic, cultural, and religious history.

Seated in the Horn of Africa between Europe and the Middle East, Ethiopia is an intersection of diverse climates, religions, and cultures. Home to over 80 different ethnicities and religious groups, a large portion of the historic artistic production in Ethiopia supported one of the three Abrahamic faiths (Judaism, Christianity, and Islam), all of which have early roots in Ethiopia. As one of the oldest Christian kingdoms, Ethiopian artists produced icons, wall paintings, crosses of various scales, and illuminated manuscripts to support this religious tradition and its liturgy.

Ethiopia at the Crossroads examines Ethiopian art as representative of the nation’s notable history, including its status as an early adopter of Christianity and the only African nation that was never colonized, and demonstrates the enormous cultural significance of this often-overlooked African nation through the themes of cross-cultural exchange and the human role in the creation and movement of art objects. In particular, the exhibition traces the creation and movement of art objects, styles, and materials into and out of Ethiopia, whether across the Red Sea, the Arabian Sea, the Mediterranean Sea, and the Indian Ocean, or within the African continent, especially up the Nile River.

Visitors will see painted Christian icons, church wall paintings, healing scrolls, bronze processional crosses, colorful basketry, ancient stone and 20th-century wood sculpture, contemporary artworks, and more. Some of the earliest surviving illuminated manuscripts from Ethiopia are on view along with secular objects produced and utilized by Ethiopians, including coins minted by generations of Aksumite rulers and textiles used for manuscript bindings and garments.

Works by contemporary Ethiopian artists—such as Wax and Gold X (2014) by Wosene Worke Kosrof, a painting utilizing graphic, abstracted forms of Amharic script, the Semitic language widely spoken in Ethiopia and descended from Gəʿəz, an ancient written system indigenous to Africa, and All in One (2016) by Aïda Muluneh, featuring a woman wearing body paint inspired by traditions of African body art and a composition reminiscent of Ethiopian church paintings of the Virgin Mary—are juxtaposed with the historic works to help visitors comprehend and connect with the multiplicity of cultures and histories presented.

Tsedaye Makonnen, guest curator of contemporary art for the exhibition and an Ethiopian American multidisciplinary artist in her own right, will share in-gallery insights about the tangible effect the historic artworks have on these artists, who frequently incorporate their themes, motifs, and stylistic features in varying degrees.

This exhibition is co-organized by the Walters Art Museum, Peabody Essex Museum, and the Toledo Museum of Art. The exhibition will travel to the Peabody Essex Museum April 13–July 7, 2024, and to the Toledo Museum of Art August 17–November 10, 2024.

For more information, https://thewalters.org/exhibitions/ethiopia-crossroads/

Call for Applicants: Mediterranean Art History: An Introduction, Mediterranean Studies Summer Skills Seminar (17—20 June 2024, Remote), Due By 15 April 2024

Call for Applicants

Mediterranean Art History: An Introduction

Mediterranean Studies Summer Skills Seminar

17—20 June 2024, Remote

Led by Dr. Karen Rose Mathews, University of Miami

Due by 15 April 2024

This online Summer Skills Seminar provides participants with an overview of key concepts and methodologies in the study of Mediterranean art history. The course will address the themes of mobility, connectivity, and encounter in relation to the visual culture of peoples and territories across the sea. Participants will acquire an art historical tool kit to assist them in conducting their own research on the visual culture and artistic production of the medieval Mediterranean.

Proposed Program

Monday, 17 June 2024: Who?—People
10am-12pm & 1-3pm MDT (12-2pm & 3-5pm ET)

1. Patrons, artists, merchants, and producers
2. Patronage, production, dissemination of artworks, and reception theory

Tuesday, 18 June 2024: What?—Things
10am-12pm & 1-3pm MDT (12-2pm & 3-5pm ET)

1. Materials, aesthetics, and symbolism
2. Theoretical approaches to objects and things

Wednesday, 19 June 2024: Where?—Places
10am-12pm & 1-3pm MDT (12-2pm & 3-5pm ET)

1. Sense of place and space in the Mediterranean
2. Mediterranean spaces: Case studies

Thursday, 20 June 2024: How?—Routes, Vectors, and Means of Communication
10am-12pm & 1-3pm MDT (12-2pm & 3-5pm ET)

1. Mediterranean environment: Motivations and vectors of exchange
2. Approaches to medieval Mediterranean visual culture

Application period: 15 April 2024
Acceptance/Stand by Notifications: 21 April 2024

For more information about the program, please see the link: https://www.mediterraneanseminar.org/overview-mediterranean-art-2024

New Video! Friends of the ICMA presents Medieval Coming Attractions 2023-2024, 11 December 2023

New Video

Friends of the ICMA presents Medieval Coming Attractions 2023-2024

11 December 2023 11 AM Et

The Friends of the ICMA held the latest in a series of special online events on Thursday 21 December 2023 at 11:00am ET (17:00 CET). The hour-long program previeweed three medieval exhibitions, each introduced by its curator.

Diane Wolfthal spoke about her exhibition Medieval Money, Merchants, and Morality. The exhibition is on view at the The Morgan Library & Museum through 10 March 2024. 
https://www.themorgan.org/exhibitions/medieval-money

Peter Carpreau introduced his exhibition, Dieric Bouts: Creator of Images. The exhibition was on view at M Leuven through 14 January 2024. 
https://www.mleuven.be/en/programme/dieric-bouts

Andrea Myers Achi spoke about her exhibition Africa & Byzantium. The exhibition is on view at The Metropolitan Museum of Art until 3 March 2024.
https://www.metmuseum.org/exhibitions/africa-byzantium

The panel was introduced and moderated by Leslie Bussis Tait, Chair of the Friends of the ICMA.

To watch the video, visit the Special Online Lectures page.

ICMA in London (7 Feb) and Edinburgh (12 Feb): tannczen, helsen, kussen, vnd rawmen: Of Dancing and Dalliance in the Late Middle Ages; Nina Rowe, lecturer

The ICMA at the Courtauld Lecture is presented in London on Wednesday 7 February 2024. Register HERE. In-person only.

ICMA in Edinburgh Lecture is presented on Monday 12 February 2024. Register HERE. In-person and virtual options to attend.

SEE BELOW FOR MORE INFORMATION.

Nikolaus Türing, Relief with Morris Dancers, detail of the Goldenes Dachl, Innsbruck, ca. 1496-1500. (Photo: Stadtarchiv Innsbruck / Museum Goldenes Dachl)

ICMA IN LONDON
ICMA AT THE COURTAULD LECTURE

TANNCZEN, HELSEN, KUSSEN, VND RAWMEN: OF DANCING AND DALLIANCE IN THE LATE MIDDLE AGES

NINA ROWE, LECTURER


The Courtauld, Vernon Square Campus
17:30 GMT, Wednesday 7 February 2024
Register HERE
In-person only

In the German realm in the late Middle Ages, dancing was cause for both celebration and concern. Poets crafted animated accounts of boisterous roundelays welcoming winter and summer, municipal leaders designated festival days when citizens were permitted to whirl and shuffle in city squares, and churchmen admonished Christian youths to beware the seductions of frivolous young ladies on the dance floor. In short, literary and administrative texts evoke the appeal and hazards of dance, both as pastime and performance, in the southern part of the Holy Roman Empire, circa 1450 to 1500. Scholars of medieval art, however, have seldom probed the array of images showing couples spinning, performers leaping, and folks on the sidelines being enticed into the joyful fray. This lecture examines illuminations, wall paintings, prints, and sculptures that capture a variety of attitudes toward dancing in the regions of Bavaria and Austria in the second half of the fifteenth century. Clerics may have condemned dancing as a tool of the devil that irresistibly leads to unchastity and thereby damnation, but artistic evidence indicates that laypeople were willing to take their chances. In public images and small-scale works targeted to wealthy urban audiences, viewers could learn about the risks of dance, but also find encouragement to step out and join the party.

Nina Rowe is a Professor of Medieval Art History at Fordham University in New York City. Her books include The Jew, the Cathedral, and the Medieval City: Synagoga and Ecclesia in the Thirteenth Century (Cambridge UP, 2011) and The Illuminated World Chronicle: Tales from the Late Medieval City (Yale UP, 2020), as well as edited volumes, most recently: Whose Middle Ages?: Teachable Moments for an Ill-Used Past (Fordham UP, 2019). She has held fellowships from The Metropolitan Museum of Art, the National Endowment for the Humanities, and the American Council of Learned Societies, and she served as President of the International Center of Medieval Art (ICMA), 2020-2023.

Organised by Dr Tom Nickson (The Courtauld) and Dr Jessica Barker (The Courtauld). 

Register HERE


ICMA IN EDINBURGH


DANCING AND DALLIANCE IN THE LATE MIDDLE AGES: TANNCZEN, HELSEN, KUSSEN, VND RAWMEN


NINA ROWE, LECTURER

Edinburgh College of Art, The University of Edinburgh
Hunter Lecture Theatre
17:15 - 19:30 GMT, Monday 12 February 2024
Register HERE

Professor Nina Rowe will repeat her ICMA at The Courtauld Lecture (listed above) for an Edinburgh audience, with both in-person and virtual options to attend. Please register to indicate your attendance.

For those attending in person, the lecture will take place in the Hunter Lecture Theatre (0.17) of the Hunter Building, 74 Lauriston Place Edinburgh, EH3 9DF. A wine reception will follow in the John Higgitt Gallery, also in the Hunter Building.

Organised by Dr. Heather Pulliam (The University of Edinburgh).

Register HERE