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HNA in Amsterdam
"Crossing Boundaries"
27th–29th May 2010
CALL FOR PAPERS
The Call for Papers is now closed but the document stays online for the time being since it informs prospective conference participants of the session topics. It will eventually be replaced by the conference program.
Guidelines for Speakers
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Only unpublished, original material, which has not been presented elsewhere, can be considered.
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Papers must not exceed the maximum length of 20 minutes.
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If you are submitting proposals to more than one session, please notify all session chairs.
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Speakers must be paid-up members of HNA.
Deadline for Proposals to Session Chairs: July 31, 2009
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Proposals should include a one-page abstract and a brief curriculum vitae.
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Send proposals to session chairs as an email attachment (in exceptional cases proposals can be posted).
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Session chairs will acknowledge receipt of proposals.
Session Chairs notify Applicants by September 15, 2009
Speakers must send Full Text to Session Chair(s) by April 1, 2010
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Chairs may make recommendations for shortening or improving texts.
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Chairs may, if so desired, circulate papers to other speakers and/or discussants prior to the conference.
Conference Program Committee
Krista De Jonge
Dagmar Eichberger
Jan Piet Filedt Kok
Emilie Gordenker
Fiona Healy
Koen Ottenheym
Eric Jan Sluijter Conference Administrators: Nicolette Sluijter-Seijffert (nsluijter@gmail.com) and Fiona Healy (FionaHealy@aol.com)
1. The Shifting Boundaries of Museum Collecting and Display in The Netherlands (1800 to the Present)
Chairs:
Jonathan Bikker, Research curator, Rijksmuseum, PO Box 74888, NL-1070 DN Amsterdam
Ellinoor Bergvelt, University of Amsterdam, Leerstoelgroep Cultuurgeschiedenis van Europa, Oude Turfmarkt 141, NL - 1012 GC Amsterdam
Email: j.bikker@rijksmuseum.nl AND E.S.Bergvelt@uva.nl
This session will examine the changing criteria in museum collecting and display in The Netherlands from around 1800 until the present and the factors that precipitated them. The following subjects might be explored:
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The influence of the expansion of the canon of Dutch art on museum holdings and presentation. In how far have the collections of Dutch museums been determined by the canon at the time of their founding? How have comprehensive collections, such as that of the Rijksmuseum, adapted to changes in taste? Has the canon of Dutch art been formed by Dutch collectors, museums and art historians or outside of the borders of The Netherlands?
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The collecting and display of Flemish art in Dutch museums. Why is there relatively little Flemish art in Dutch museums and why is it in the museums it is in (Mauritshuis, Boijmans van Beuningen, Rijksmuseum)? What role has the shifting geographical border played in the collection and display of Flemish art in The Netherlands? What efforts have been made to collect beyond the current border of The Netherlands?
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The co-existence of a municipal museum (Amsterdam Historical Museum) and a national museum (Rijksmuseum) in the same city. Where does the city end and the country begin when it comes to art? Should municipal borders form the boundaries of the presentation of Dutch art?
- Art or history or both. When and in which Dutch art museums has history determined acquisition policies and the presentation of the collection? Should art (history) or history impose the boundaries of museum collecting and display?
2. Social Network Analysis of Art Markets and Art Worlds in the Low Countries
Chairs:
Marten Jan Bok, University of Amsterdam, Department of Art History, Herengracht 286, NL - 1016 BX Amsterdam
Harm Nijboer, University of Amsterdam, Department of Art History, Herengracht 286, NL - 1016 BX Amsterdam
Email: M.J.Bok@uva.nl AND H.T.Nijboer@uva.nl
This session seeks to explore new ways to employ methods, concepts and theories from the field of social network analysis in the study of Dutch and Flemish art.
The production, distribution and reception of works of art is tied into various networks of social relations. Over the last decades scholarly interest in the social and economic aspects of Netherlandish art has expanded rapidly. Social networks are now acknowledged as crucial phenomena for understanding not only the rise and subsequent decline of the art market in the early modern period, but also as forces contributing to the development of style and content in art, as well as in shaping public taste. In recent publications, however, the concept of social networks is almost exclusively used in a tentative, heuristic manner, leaving the analytical and theoretical possibilities of this concept unexplored. Although these studies have certainly yielded important results at a descriptive level, they fail to generate a deeper understanding of the social mechanisms driving artistic development.
The aim of the session is to make historians of Netherlandish art more familiar with current methods, concepts and theories from the field of Social Network Analysis and to discuss to what extent these tools and techniques may be applied in the study of art markets and artistic ‘milieus’ in the past. For this session we invite proposals for papers from scholars who can present case studies with a focus on methodology, scholarly techniques or conceptual and theoretical frameworks.
The core of an artistic network can be bilateral (in the case of patron‑client relationships) or multilateral (in the case of open markets). However, the social networks that constitute art markets and art worlds are hardly ever limited to just the relations between artists and their customers. No less important are the relations that artists have with other artists or that prospective buyers of works of art have with others who own works of art, such as art dealers and collectors, or with those who write about art. Art markets are basically about the buying and selling of information and competition on art markets is therefore always imperfect. As a consequence, knowledge about artists and their works is never evenly distributed across society and neither is the appreciation of works of art. The success of artists, art dealers and art buyers in the market space is thus vastly affected by their ability to access scarce information effectively and hence by their positions within the information networks in which art markets and art worlds are embedded. Speakers may concentrate on specific aspects of such networks, such as accessibility, flow of information, geographical distribution of members within a network, transportation, etc.
The organizers acknowledge that Social Network Analysis is not the only approach for studying social networks currently applied within the humanities and the social sciences. Networks are also crucial phenomena in the field theory of Pierre Bourdieu and in the figurational sociology of Norbert Elias. Contributions elaborating on these theoretical frameworks will also be welcomed.
3. Cultural Transmission and Artistic Exchanges in the Low Countries during the Long Seventeenth Century
Chairs:
Karolien De Clippel, Utrecht University; Department of History and Art History, Drift 10, NL-3512 BS, NL-3512 HJ Utrecht
Filip Vermeylen, Erasmus University Rotterdam, Faculty of History and Arts, P.O. Box 1738, NL-3000 DR Rotterdam
Email: k.j.declippel@uu.nl AND vermeylen@fhk.eur.nl
In the early modern period, the Low Countries was a leading region in terms of innovation in the visual arts. Antwerp was a metropolis of creativity for most of the sixteenth and seventeenth centuries, while after 1600 painting and printmaking flourished as never before in the Northern Netherlands. Exponentially-growing demand gave rise to a viable and sophisticated art market in which works of art were marketed wholesale. Our session seeks to explain these developments from a fresh perspective by examining the artistic exchanges that took place between the Dutch Republic and the Southern Netherlands. In doing so, we will gain insight into the circulation of artistic knowledge and examine how culture was transferred, even in times of war. Therefore, the focus of this session hinges on the following question: How, why and through which channels did cultural transmission and artistic exchanges in the visual arts take place in the Low Countries during the long seventeenth century, and what was the impact on the (shared) cultural heritage of the two regions?
We invite papers that approach these phenomena from different perspectives (historical, art-historical and socio-economic) and in a multi-disciplinary fashion (not limited to painting but including for instance tapestry making or engravings). Possible topics are:
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Mobility of works of art: an examination of the flow of goods between regions and cities (the art trade), and the behaviour of collectors and art lovers in North and South to map cultural transmission from a material culture perspective.
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Mobility of artists: contributions that trace the movements of migrating and itinerant artists, and gauge how they infiltrated or became part of the local communities, and the extent to which they facilitated cultural transmission.
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Mobility of artistic knowledge: papers that investigate how artistic ideas were actually transferred through a close reading of the works of art themselves and contemporary art theory, and gauging to what extent guilds and academies have facilitated (or not) the assimilation of artistic know-how.
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Similarities and differences between North and South: papers that compare and contrast the developments in the Dutch Republic and the Southern Netherlands in terms of artistic production, arts education and the structure of the art market (academies, guilds, workshop practices).
4. Manipulating the Object: Simultaneous Readings and Experiences
Chairs:
Margaret Goehring, 7 West Bloomfield Road, Pittsford NY 14534
Anne Margreet As-Vijvers, University of Amsterdam, Eiteren 50, NL-3401 PV Ijsselstein
Email: mgoeh@rochester.rr.com AND AsVijvers@xs4all.nl
Encounter with the image in the late Middle Ages was intimately connected to its reality as a physical object. Altarpieces were opened and closed, metalwork and other small sculptures were handled and repositioned, and even panel painting could be turned or reversed, while manuscripts by necessity required manipulation by hands. This session seeks to focus on how the physicality of an object invited simultaneous readings of the image, and how the possibility of multiple interpretations and functions enhanced its experience. How did users physically manipulate objects, and what did they gain by doing so? How did the actual space around the object and its internal virtual space interfere or interact with the way in which an object was used? While changing the context of an artwork’s display could have an impact on its reception and therefore its meaning, this session seeks to go beyond questions of portability and re-use, to show how boundaries between multiple readings are crossed through the actual shape of a work, its formal organization, by the way it was physically handled, or its possible use of different media. Inquiries into the documentation of such practices are invited, as are art-historical and contextual inquiries that tie together iconographic, stylistic, devotional, political, material, and other approaches.
5. Porous Borders: Flanders, France, Italy, England, Germany and the Netherlands
Chair:
Amy Golahny, Lycoming College, Williamsport PA 17701
Email: golahny@lycoming.edu
This topic concerns artists who travel, and those who don't, and their various experiences with the art and patronage outside the Netherlands. Rembrandt, without leaving the Dutch Republic, not only put together one of the finest collections of Italian paper art but also held a dialogue with Italian art throughout his creative years. Jan Lievens, who travelled to Antwerp and London, was receptive to the art he found in these cities. For those young artists who studied the art that could be seen in London, Antwerp and Paris, these collections were probably just as significant as those in Italy. For some artists who did travel, such journeys had a minimal effect on their work, such as Jan Brueghel, Jacques de Gheyn III and Samuel van Hoogstraten. Others who did not travel seem to have pretended they did, and used Italianate motifs in their paintings, such as Nicolaes Berchem and Philips Wouwermans. The scope of this topic may extend to the sixteenth century (Barendsz., Goltzius, Van Mander) and to those whose experiences abroad were formative (Pieter Lastman, Joachim von Sandrart, Rubens and Van Dyck).
Was a physical journey redundant if available art supplied a northern artist with whatever he found useful? How can we define and limit the impact of foreign art on these artists? What did they find attractive or useful? And how did patronage affect their outlook and work?
6. Paragone, Symbiosis: Relations between Painting and Sculpture in Netherlandish Art
Chair:
Lynn F. Jacobs, University of Arkansas, Art Department, 116 Fine Arts Center, Fayetteville AR 72701
Email: lynnfjacobs@yahoo.com
The purpose of this session is to explore the intersection of painting and sculpture within Netherlandish art of the fourteenth through seventeenth centuries. Papers that explore a variety of dimensions of this issue are invited.
Some questions that could be considered include: what does the phenomenon of grisaille demonstrate about ways in which painters were influenced by or defined their art in relation to sculpture? What role did polychromy play in breaking down barriers or setting up distinctions between media? How were collaborations between painters and sculptors organised, and what was the role of institutional or economic structures in shaping such collaborations? What was the effect of differences in media on the experience of viewers and on the function of art works? How much was awareness about the nature of the medium bound up with the development of artistic self-consciousness in general? How could issues of media impact meaning?
7. Antwerp and Its Boundaries 1550-1570
Chairs:
Ethan Matt Kavaler, University of Toronto, Department of Art, 100 St. George Street, Toronto ON M5S 3G3, Canada
Todd M. Richardson, University of Memphis, Department of Art, 108 Jones Hall, Memphis TN 38152-6715
Email: matt.kavaler@utoronto.ca AND tmrchrds@memphis.edu
At the moment of revolt and the iconoclastic riots, Antwerp had become the capital of painting in northern Europe. But, at the height of its success, how porous were its boundaries? Notions of center and periphery are at issue. In what ways did the arts in Antwerp and the Netherlands engage in a Pan-European discourse? How are Netherlandish works related to the arts in Italy? What is the relationship between the Low Countries and the arts in France or Germany? What models of cultural transference are profitably considered? How relevant are notions of the vernacular when considering the arts in Antwerp and the Netherlands? And how did Antwerp artists operate within the larger orbit of the Netherlands – particularly with regard to Brussels, Liège, Bruges, and Haarlem? Brussels, the court city, was a center of tapestry and stained glass, playing host to Bernard van Orley, Michiel Coxcie, and Pieter Bruegel himself, in his later years. The Liège atelier of Lambert Lombard helped train Frans Floris, Willem Key, and Hubrecht Goltzius, among others. Pieter Aertsen returned to his native Amsterdam, while the Haarlem painter Maerten van Heemskerck nursed connections with Antwerp.
We welcome papers that examine the position of Antwerp painting within larger geographical and cultural boundaries. We encourage papers that consider the position of painting relative to other arts, and within painting, the status of history painting as well as that of landscape, market painting, portraiture, and genre imagery.
8. Munich at the Crossroads: Foreign Artists in Counter-Reformation Bavaria
Chair:
Susan Maxwell, University of Wisconsin-Oshkosh, Department of Art, Arts and Communication Bldg. 510, 800 Algoma Blvd, Oshkosh WI 54901-8635
Email: maxwells@uwosh.edu
In the last quarter of the sixteenth century, Munich became one of the most important destinations for Netherlandish artists travelling to Italy. Conversely, Italian artists seeking lucrative commissions and appointments journeyed north, drawn by the extravagant collecting and patronage practices of the Wittelsbach dukes of Bavaria, as well as that of wealthy banking families, notably the Augsburg Fuggers.
The formation of the ducal Kunstkammer and construction of the first museum north of the Alps, the Antiquarium, by Duke Albrecht V, grew out of long traditions of ducal patronage that actively sought out foreign artists. Albrecht’s successor, Wilhelm V, continued that tradition with major projects that included the construction and decoration of the new ducal residence and the church of St. Michael’s, the first Jesuit church in northern Europe. Wilhelm V promoted a thriving printmaking industry that resulted in collaborations between engravers such as the Sadeler family and artists working in a variety of media.
Countless other projects drew artists from all over Europe to a city that was being transformed from a fortified medieval town into a cosmopolitan Renaissance city. The multi-national community of artists working in Munich included Netherlanders such as Georg Hoefnagel, Hans von Aachen, Hendrick Goltzius, and Jan Sadeler, but also Italians such Antonio Ponzano, Carlo di Cesare del Palagio, and Antonio Viani. Netherlanders trained in Italy, such as the sculptor Hubert Gerhard and Wilhelm’s court artist Friedrich Sustris, all contributed to the development of an international style, accompanied by changes in workshop practices and perceptions about art and art making.
This session invites papers that touch on any aspect of the vibrant artistic community in Munich during the late sixteenth century, whether they relate to specific works by the many German, Netherlandish, and Italian artists or to changing artistic and collecting practices inspired by the Kunstkammer and the Antiquarium. Papers could also deal with commissions resulting from the establishment of the Jesuit order in Bavaria and the Counter-Reformation leadership of the Bavarian dukes who promoted their political and dynastic goals through artistic patronage.
9. Global Baroque: The Netherlandish Image in Asia, Africa and the Americas
Chair:
Mia M. Mochizuki, Jesuit School of Theology and Graduate Theological Union, Thomas E. Bertelsen, Jr. Chair of Art History and Religion, Graduate Theological Union, 1735 LeRoy Ave, Berkeley CA 94709-1193
Email: mmm@kasm.us
How did Netherlandish art fare beyond its geographical borders? Since Horst Gerson’s classic work on the spread of Dutch art abroad, Ausbreitung und Nachwirkung der holländischen Malerei des 17. Jahrhunderts (1942), art historians have only recently begun to reconsider the impact of the Netherlandish image in Asia, Africa and the Americas during the “long” seventeenth-century. This session welcomes papers that treat the effects of Netherlandish art – sculpture, paintings, prints, books, material culture – taken overseas via ambassador, merchant or missionary in one of the great ages of exploration. It will address objects that made the trip and their reception – what was valued, what was collected and what was produced after them. Who were the artists inspired by these works? In what context were images copied? What kinds of artistic problems needed to be navigated? How were these images used? Too often the unusual corpus of objects that resulted from exchange have been neglected by art historians as not falling within a national school, and thus have remained largely outside mainstream historiography. Papers examining the early modern circulation of Netherlandish art within the framework of broader methodological concerns are particularly encouraged.
10. Bending and Breaching the Boundaries of Gender
Chair:
Martha Moffitt Peacock, Brigham Young University, 3122 JKB, BYU, Provo UT 84602
Email: Martha_Peacock@byu.edu
This session will explore the transgression of boundaries based on gender as revealed in the themes, styles, and production of northern art. Many studies of northern art in the late medieval and early modern eras reinforce the artificial boundaries established by clergy and moralists regarding a necessary separation of male and female spheres and roles. Thus, a rigid dichotomy has been established between the male patriarchal, authoritative, public, and powerful sphere and the sphere of women that is purportedly obedient, humble, domestic, and powerless. There has been much less investigation of how these contrived borders were subverted, chafed at, reshaped, negotiated, revolted against, overlapped, disputed, and violated in specific social contexts. This session, therefore, rejects the notion that societies are unidimensional, but instead views them as fluid with opportunities to structure culture by non-dominant, as well as hegemonic sectors. As a consequence, the analysis of gender formation through art will of course entail wider considerations of cultural, social, economic, religious, and political factors. Hopefully, this session will contribute to a better understanding of how gender systems operated via art in northern societies. Furthermore, a more complete awareness of how relations between women and men were culturally constructed should provide a more nuanced image of the complex ideologies and psychologies signified in the art of these periods.
Topics of interest may include, but are not limited to the following:
What gender overlap is to be found in the depicted sacerdotal and divine roles of Christ and Mary? In cloistered communities, what roles of the absent sex are usurped and absorbed by the inhabitants, as revealed in the objects of material culture or devotional art produced and utilized in these isolated spheres? Did certain art forms become primarily associated with a certain gender, and when and how were artists allowed to transgress these traditions? In what ways did the art of early modern capitalist societies begin to shape new gender roles that were contested within the economic and political upheavals that characterized northern society during this period? How strict or liberal was gender consciousness in art during these periods, and how were those boundaries transgressed to empower, provide pleasure, justify, or direct actual practice? In terms of artistic production, what influences are to be found transferring from female artists to male artists and vice versa in the significations regarding feminine or masculine. Themes concerning dress, manners, spheres of work and influence, family, religion, economics, politics, and social class, as related to gender boundaries and art, are encouraged.
11. Thresholds – Portals – Porches – Gates. Facing Spatial Boundaries in Early Modern Amsterdam
Chair:
Freek Schmidt, Free University Amsterdam, Faculty of Arts, De Boelelaan 1105, NL - 1081 HV Amsterdam
Email: f.schmidt@let.vu.nl
The number and variety of structures that helped to regulate public and private life in the early modern city are impressive. The pedestrian faced, crossed or passed numerous of these spatial boundaries every day, turning a walk around the city into a special experience. The presence of so many specially constructed, crafted and decorated boundaries may even have led to a sense of spatial segregation that we are familiar with today. Thresholds, portals, porches and gates were among the crucial elements that played an important part in everyday life of most inhabitants. An impressive amount of documentary evidence, both in images and descriptions, points to the special importance that was attached to these structures. Architects and other artists were employed in their design and production, while painters and draughtsmen produced numerous series of views of city gates, porches, etc. for a varied clientele.
This session invites papers that deal with the theme of spatial boundaries in the built environment of Amsterdam. Particularly welcome are papers that look explicitly at pictorial (and written) evidence of spatial boundaries in Amsterdam in the early modern period. Papers may either focus on all kinds of spatial boundaries within the city, including those at home (male-female), on the art of walking the city, but also concentrate on one specific building type and its visual representation that serves as a (monumental) physical boundary or passage, on city gates, on porches and portals of social, cultural or religious institutions, in order to help us understand how these spatial boundaries were conceived, created, perceived or experienced.
12. Transgressing Materials
Chairs:
Jeroen Stumpel, Utrecht University, Department of History and Art History, Drift 10, NL - 3512 BS Utrecht
Ann-Sophie Lehmann, Utrecht University, Institute Media and Re/presentation, Kromme Nieuwegracht 29, NL - 3512 HD Utrecht
Maximiliaan P.J. Martens, Ghent University, Department of Art, Music and Theatre Sciences, Sint-Hubertusstraat 2, B – 9000 Ghent
Email: J.F.H.J.Stumpel@uu.nl AND
Ann-Sophie.Lehmann@let.uu.nl AND Maximiliaan.Martens@UGent.be
The material in which a work of art has been carried out is often regarded as a secondary feature, a necessary base that may or may not hold specific consequences for the artwork’s meaning and aesthetic impact. But the history of art is certainly also a history of technology, and more often than not, stylistic and iconographical conventions developed from an ambition to overcome material restrictions. One important example for instance is the wish to imitate the splendour of gold and enamels, by means of paints and metal foils. We encounter the use of paints here not so much to represent different materials, rather as to mimic them; the use of ersatz, rather than imagery. Such transgression of given material often goes from low status stuffs to more precious and prestigious materials; lead tin foil imitating silver, wall painting imitating cloths, or, as we may read in Van Mander’s life of Gossaert, painted paper posing as gold brocade. Such migrations of material are not only interesting in themselves – within the history of art they frequently lead to an emancipation of ersatz techniques; a case in point might be the use of marble in classical sculpture, which may well have started out as a cheaper material substitute for bronze, only to end up as a prestigious sculptural medium all of its own.
With the use of oil paint for panel painting in the fifteenth century, Netherlandish art can be assigned one of the most exciting and far-reaching material revolutions in the history of art, and it seems quite possible that in this case too, one might surmise the emancipation of original ersatz techniques. After all, the use of oil for imitating other materials (from the structure of wood to the shine of rubies) seems older than its use for the representations of such surfaces within refined panel paintings. One of the reasons for this material revolution will have been precisely the capacity of the medium to imitate and thus incorporate other media.
Conversely, oil painting’s inherent ability to mimic reality pushed other media towards a previously unimaginable mimetic representation: tapestry, needlework, engravings and etchings aimed at the sensual evocation of human skin, velvety fabric and animal fur. The guild-systems reacted quickly to such technical innovations and installed a hierarchy of material use, in which only selected groups were allowed to use certain materials.
To the theme of the transgressions of material one might also reckon the phenomenon of the framing of panels in painted costly marbles, the imitation of porphyry on the backs of portraits, as well as woven tapestries incorporating the golden frames associated with painting. The later might possibly be an example of consciously practicing the transgression of material as a form of display and virtuosity, which we also seem to witness in phenomena such as the intriguing penschilderij.
In this session, we invite proposals that explore examples of material transgression from a historical, technical or art theoretical point of view. We especially welcome proposals that combine archival material and technical analysis with art-theoretical approaches to contribute to a study of the “material iconography” of Netherlandish Art.
Relevant papers will be considered for publication in the Nederlands Kunsthistorisch Jaarboek (volume 62), which will be devoted to 'The Materials of Painting'.
13. Languages of Art in the Netherlands, 1550-1750
Chair:
Thijs Weststeijn, University of Amsterdam, Department of Art History, Herengracht 286, NL-1016 BX Amsterdam
Email: M.A.Weststeijn@uva.nl
This session aims at reconstructing the vocabulary used to discuss the visual arts in the Early Modern Netherlands. Contributions may examine writings about painting, sculpture, or architecture and focus on one or more individual terms, phrases, or commonplaces. Papers should establish a link to existing works of art or to the reconstruction of practices of looking at art. Obviously, not only works in Dutch are relevant: discussions may include texts in Latin, Italian, French, German or English. Relevant documents may be treatises, manuals, poems, city descriptions, and archival documents, and range from Hadrianus Marius’s epigrams (1550) to Johan van Gool’s biographies (1750). Crossing not only linguistic boundaries but also those between text and image, reflections on the methodological validity of this approach are also welcomed.
Topics may include:
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One or several terms relevant to the analysis of style (or ‘handling’), possibly in connection to details of studio practice;
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Epithets used in conjunction with painter’s names: amplification or characterization?
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Terms from other areas of social life that are transposed to the domain of the visual arts (such as ‘principaal’, originally developed in banking, a term also used on the art market);
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Terminology in the vernacular that adapt notions from the international humanistic tradition to the situation in the Netherlands;
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Concepts from ancient rhetorical theory and their transformation in the Early Modern Netherlands;
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The vocabulary used in archival documents to denote categories or genres of painting;
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Words or commonplaces used by art lovers, enlightening of the ‘civil conversation’ in studios and collections.
14. Session to Honor Dr. Carol Purtle
Chair:
Diane Wolfthal, Rice University, David and Caroline Minter Chair in the Humanities and Professor of Art History. 5427 Carew St, Houston TX 77096
Email: DianeWolfthal@yahoo.com
In a recent interview, Carol Purtle stated that in fifteenth-century Flanders, "we have so little written material that the painting tends to be the document. So the more we know about the painting, the more we can find out about the time in which it was painted." This session is organized to honor the memory of Carol, a founder of the Historians of Netherlandish Art, the author of The Marian Paintings of Jan van Eyck, and the editor of Rogier van der Weyden, St. Luke Drawing the Virgin: Selected Essays in Context. For this session we seek papers that continue her work by illuminating her passions: fifteenth-century Flemish art, Jan van Eyck, and technical studies. This session seeks to align itself with the conference’s theme of crossing boundaries by inviting papers not only from Carol’s friends and colleagues, but also from younger scholars in the field, not only from those who wish to continue Carol’s methods of investigation, but also those who want to explore new problems and possibilities that were opened up by Carol’s work.
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