Conferences, Journals, Fellowships
The Senses and Visual Culture from Antiquity to the Renaissance
Where does the recent sensory turn in the Arts and Humanities leave the study of Visual Culture? Can the viewer/object model incorporate the full sensorium without imposing ocularcentrism? How has vision’s relation to the other senses been expressed and explored through the visual arts from Antiquity to the Early Modern Period? How have the senses and sensory experience been represented in art before the Modern era?
This conference will explore the complex relationship between the visual and the sensory in contemporary theory and ancient practice. It will investigate the ways that art, from icons to illuminated manuscripts, music to architecture, and poetry to theatre, acted as a space for thinking about sensory experience, and for representing sensory ideas and theories. It will bring together scholars from a range of fields, including Classics and Ancient History, Medieval and Byzantine Studies, Musicology, Museum Studies and the History of Art, to explore these questions in the context of different historical periods and cultures, and in terms of politics, religion, philosophy, and society in the pre-Modern era.
We invite abstracts of 300 words for papers including but not limited to the following themes:
- The role of the visual;
- The non-visual senses and the reception of visual culture;
- Embodied interaction with apparently visual art;
- The use of ancient sensory theory in later practice;
- Representations of sensory experience;
- The difference between Eastern and Western European traditions in terms of ideas about the senses and how they are represented;
- Displaying historical sensory experiences in museum settings;
- The future of visual culture studies of pre-modern Europe.
Papers will be 20 minutes long, with 10 minutes for discussion. The conference will be held June 8-9, 2015, at the University of Bristol, UK. Please send abstracts and CVs to the organisers, Erica O’Brien and Heather Hunter-Crawley at firstname.lastname@example.org, by April 10, 2015. For further information and updates, please see the conference website: sensesandvisualculture.wordpress.com
Artistic Exchanges between Italy and the Netherlands (1300-1700)
Historians of Netherlandish Art (www.hnanews.org) and the Italian Art Society (italianartsociety.org) invite proposals for papers to be presented in a joint sponsored session at the Renaissance Society of America's annual meeting in 2016 in Boston. Papers may address any aspect of artistic exchange between the art and artists of the Netherlands and Italy in the period 1300 to 1700. Speakers should be members of HNA or IAS. Speakers will be required to join RSA and are responsible for their own costs associated with participation. Please consult the RSA website for format, guidelines, and eligibility: http://www.rsa.org/?page=submissionguidelines.
Proposals should include a paper title, abstract of your paper topic (150 words maximum) and a curriculum vitae in paragraph form (300 words maximum) and should be submitted to the session co-chairs, Sheryl Reiss: email@example.com, and Amy Golahny: firstname.lastname@example.org. The deadline is April 15, 2015.
Call for Sessions RSA Boston 2016
HNA seeks session themes and chairs for up to four sponsored sessions at the annual conference of the Renaissance Society of America (RSA) to take place in Boston, March 31– April 2, 2016. Sessions are typically comprised of three 20-minute papers on aspects of Netherlandish art c. 1300-1700. Chairs and speakers should be members of HNA. All presenters will be required to join RSA and are responsible for their own costs of participation. Please consult the RSA website for format, guidelines, and eligibility: http://www.rsa.org/?page=submissionguidelines.
Please send a 150-word abstract for the session theme and a 300-word vita (in paragraph form) to Stephanie Dickey at email@example.com. The deadline is April 15. Once themes and chairs have been determined, we will circulate a call for papers via the HNA list and work with chairs to coordinate the sessions.
Art and Science in the Early Modern Low Countries (ca. 1550-1730)
Rijksmuseum and Trippenhuis, Amsterdam, September 17-18, 2015. In preparation for a future exhibition organized by the Rijksmuseum and the Huygens Institute for the History of the Netherlands (Royal Dutch Academy of Arts and Sciences).
Proposals for 20-minute and 10-minute papers.
300-word abstract, together with a short cv, to be sent before April 15, 2015 to:
Jan de Hond: firstname.lastname@example.org
Eric Jorink: email@example.com
SECAC , Pittsburgh, PA, October 21-24, 2015.
Upon receiving a commission from the Duke of Bridgewater in 1801, J. M. W. Turner executed Dutch Boats in a Gale: Fishermen Endeavoring to Put their Fish on Board as a companion for A Rising Gale (1671-72) by Willem van de Velde the Younger, also in the patron's collection. Turner did not merely complicate the narrative of van de Velde's picture with the addition of his own. Hung together, the pendants functioned as a brief genealogy in marine painting and invited comparison between the two artists. Though pictures had been created in complementary pairs since late antiquity, Turner had found a new application for this format. This session invites papers that consider similarly inventive strategies for the pendant or its hinged predecessor, the diptych. Pendants can include works conceived as a set but need not be limited to just those. Other kinds of pendants might include: conceptual pairs, wherein an artist conceived of works as pendants though they were not commissioned or sold together, or belated pendants, in which a single work later receives a pendant either by the same hand or another. We seek papers that elucidate particular sets of works as well as those that explore theories or challenges regarding the creation and study of pendants. Directions may include notions of complementarity, questions of intention, and issues of display.
Session chairs: Leslie Anderson-Perkins, Indianapolis Museum of Art, and Katie Hanson, Museum of Fine Arts, Boston.
The deadline for proposals is April 20, 2015, at midnight. Submission instructions may be found at http://www.secollegeart.org/conference
Confluence in Medieval and Renaissance Art
SECAC , Pittsburgh, PA, October 21-24, 2015.
Echoing the conference theme, this session will examine confluence (flowing together, merging, gathering, meeting) in art of the Middle Ages and/or Renaissance. This includes the joining of artistic traditions, methods, functions, or iconography; the coming together of influences from various locations, artists, traditions, or sources; or any other examples of confluence in European art from the third through sixteenth centuries.
Session Chair: Vida J. Hull, East Tennessee State University, firstname.lastname@example.org
The deadline for proposals is April 20, 2015, at midnight. Submission instructions may be found at http://www.secollegeart.org/conference
SECAC asks that proposals and a 200-word abstract be sent via Paper Proposal Form to the conference organizers, who will send them to the chairs after the April 20 deadline. C.v.s should be sent directly to the conference chair. SECAC 2015 will be held October 21-24 in Pittsburgh, PA.
Material Culture. Presence and Visibility of Artists, Guilds, Brotherhoods in the Pre-modern Era
International Conference of the ERC Project artifex, Munich, Zentralinstitut für Kunstgeschichte, February 24-28, 2016.
In recent years, the “material-cultural turn“ has led to stimulating new questions, new research areas and new research perspectives in numerous humanities and social science disciplines. The often quoted “thinking through things” is essential, especially in the area of the history of collections and museums. Nevertheless, it is astounding that a great number research themes have hardly been examined despite the immanent connection of objects to the discipline of art history, for example, in comparison to archaeology and cultural anthropology - although such research themes form a major area of the pre-modern self-conception of the artist. We are speaking of those objects of material culture representing the civic associations in crafts and business that thus make visible the system of guilds and brotherhoods in a townscape. All those objects making up this area of study play the major role here.
At this conference, the term material culture of the guild and crafts system is to be understood in its broadest possible dimensions, from multi-panel altar to the simple guild cabinet storing the candles for civic processions. Of interest are the form, effect and function of these objects in their sacred and profane surroundings.
The most important players are primarily the civic guilds. Likewise, the guild-like brotherhoods play a role, associations which looked after the social and religious matters of their guilds. In addition, the official representatives of the town could have an influence on the design of their town hall or townscape to bring the social structure of their confraternity into focus. When did it come to competing projects among the different crafts groups? To what extent was individual space guaranteed for persons to found donations? The visual artist or even the architect played a major role in the public portrayal of the guilds, but also of individual persons, and generally in the design of public spaces. He was the one who designed and carried out the paintings, flags, glass windows, manuscripts etc. according to the guidelines of the patrons. The artist's craftsmanship lent glory to the guilds; his visual offerings translated the group's will to self-portrayal into concrete visual messages. Who was responsible for the decoration of the guild rooms? Which artists were called on for these commissions, and how did they deal with each task?
The spaces where the group activities were played out could be of different kinds. The civic space formed the stage, so to speak, where the crafts associations acted on stage and where their realia were put on display. It could have been a centrally located square, the town hall, the church with various guild chapels or even the individual guild house. Along with these locatable spaces, the most diversified temporary spaces formed a major area as well: whether communal festive parades, church processions, festive ruler entrances or funeral ceremonies, the groups had to be visible as representatives of their rank. Realia such as guild candles, crafts-specific coats of arms and standards with guild motifs played an important role. The succession in which the respective group participated in a procession could also signify the status of the guild in the civic context. These were transitory processes which could be preserved in written or visual form. The guild chapels served as publically accessible areas where the confraternity could create its public image according to its own ideas.
In addition to the different players and spaces, the conference is to work out the extent to which the specific object was put to use in the pre-modern era to display splendour, to secure power but also to transfer knowledge and the extent to which the object, often robbed completely of its context, can serve today to understand the guild and crafts system. This interdisciplinary conference wishes to integrate the visual and tactile dimensions of the object as well as the questions on this topic dealing with the history of science and technology.
Among the possible group of conference themes are, for example:
o Crafts, brotherhood and guild houses in town centres (location, architectural forms, furnishings).
o Town halls and guild house furnishings (for example, reception pieces, gifts by individual artists).
o Sacred spaces in church naves (guild altars / furnishings, brotherhood chapels etc.).
o Window glass cycles for civic crafts groups
o Guilds and religious orientation
o Civic processions / temporary art
o The artist as a member of a religious brotherhood
o The artist in communal organisations
o Artists' celebrations in the pre-modern era
o The artist's funeral within the guild
o Names and designations of brotherhoods
o Guild saints and religious veneration
o Theories on material culture and material turn
o Topography of material culture of the guild system (inventories, clap boards, guild chests, welcome pitchers)
o History of collecting the objects
o Questions in the history of science and technology in the inner- as well as intra-disciplinary context (for example, guild research in the 19th/20th century; material culture studies and concepts and terms in Germany compared to those in other parts of Europe and in the US)
The conference is organised by the ERC Project artifex (www.kuenstlersozialgeschichte-trier.de/tak-sharc/artifex/). We were able to secure the Central Institute for Art History (Zentralinstitut für Kunstgeschichte) in Munich as the ideal conference location. It is, after all, the seat of “Research Agency for Realia Studies”, which is devoted expressly to material culture in its manifold dimensions.
The organiser will pay for transport and accommodations for the speakers. More detailed information will be announced following the selection of the speakers and the arrangement of the programme. The conference languages are English and German.
Participation requirements: A publication of the conference proceedings is planned for shortly after the conference ends. For this reason, the selected speakers are expected to have a text with footnotes, bibliography and images already prepared for publication at the time of the conference. Following the conference only a few alterations can be made to the text before the manuscript goes into print at Imhof Verlag Petersberg in the summer of 2016. Revised texts with printable images must therefore be available for the organisers at the latest on 30 April.
Deadline for submitting abstracts: April 30, 2015
The talks should be 30 minutes long. We request that abstracts, no longer than one page, plus a brief CV with the most important publications be submitted to:
Dr. Andreas Tacke, Professor / Dr. Dagmar Eichberger, Professor / Dr. Birgit Ulrike Münch
Before the Selfie: Promoting the Creative Self in Early Modern Northern Europe
College Art Association, Washington, DC, February 3-6, 2016.
The College Art Association has announced its call for papers for the 2016 Annual Conference, to be held from February 3-6 in Washington DC. In addition to those announced sessions, the Historians of Netherlandish art will also hold the 1.5 hour session described below. Speakers should be current members of both the CAA and the HNA.
In June 2014, the Buckland Abbey Rembrandt was declared an authentic self-portrait, and several news outlets welcomed this new “selfie” into the artist’s oeuvre. The application of the fashionable term was not unexpected, given its ubiquity in common parlance and its designation as the 2013 Oxford Dictionaries Word of the Year. Yet what was likely a perfunctory word choice reveals a profound alignment with the principles of the selfie: the portrait demonstrates contemporaneity (through the use of the fantastic costume and dramatic lighting that characterized Rembrandt’s style at the time), exhibits conscious self-promotion (in its large format and sumptuous clothing), and functions within a context of broad dissemination (as part of the active proliferation of the artist’s face in paint and print). Other anachronistic applications of the term have not been so fitting.
Proceeding from the social media precept that attention is power, this session seeks to examine the ways through which the early modern artist managed his identity through the medium of the self-portrait. How did the artist deploy pictorial elements to authenticate experience and increase status in the eyes of the audience? How was the face employed as a tool of publicity for one’s art, and how did the self-portrait enter into the realm of dialogue, as in the comments and “like” sections of Facebook? With the goal of reconceiving pre-digital works of art according to a framework established by the digitized world, we invite papers concentrating upon Northern European art of the period c. 1350-1750 that address the self-portrait in terms of the ambition, agency, and intention of the selfie, while also acknowledging the democratizing component of the genre, which resulted in numerous self-portraits by women and workshop assistants. Possible submissions may approach the topic from the angles of text-image studies, reception theory, patronage, semiotics, and historical notions of the self, with the “self-portrait” broadly framed across media. In short, how can the selfie inform our understanding of the early modern self-portrait in Northern Europe and, in turn, problematize this phenomenon in our own moment?
The session will be comprised of short talks of ten minutes each, followed by discussion.
Session chair: Jacquelyn N. Coutré, Indianapolis Museum of Art
Please send an abstract of no more than one double-spaced page, a brief cover letter, and a CV to email@example.com by May 8, 2015.
Feminist Art History Conference
American University, Washington, DC, November 6–8, 2015.
This annual conference builds on the legacy of feminist art-historical scholarship and pedagogy initiated by Norma Broude and Mary D. Garrard at American University. To further the inclusive spirit of their groundbreaking anthologies, we invite papers on subjects spanning the chronological spectrum, from the ancient world through the present, to foster a broad dialogue on feminist art-historical practice. Papers may address such topics as: artists, movements, and works of art and architecture; cultural institutions and critical discourses; practices of collecting, patronage, and display; the gendering of objects, spaces, and media; the reception of images; and issues of power, agency, gender, and sexuality within visual cultures. Submissions on under-represented art-historical fields, geographic areas or national traditions, and issues of race and ethnicity are encouraged.
To be considered for participation, please provide a single document in Microsoft Word. It should consist of a one-page, single-spaced proposal of unpublished work, up to 500 words in length for a 20-minute presentation, followed by a curriculum vitae of no more than two pages. Please title the document “[last name]-proposal”.
Submit materials with the subject line “[last name]-proposal” to: firstname.lastname@example.org.
Submission Deadline: May 15, 2015. Invitations to participate will be sent by July 1.
Keynote speaker: Professor Amelia Jones, University of Southern California
“The Curating of Feminist Art (or is it the Feminist Curating of Art?)”
Sponsored by the Art History Program and the Department of Art, College of Arts and Sciences, American University. Organizing committee: Juliet Bellow, Norma Broude, Kim Butler Wingfield, Mary D. Garrard, Helen Langa, Andrea Pearson, and Ying-chen Peng.
Send general queries to: email@example.com
Questions may be addressed to Andrea Pearson: firstname.lastname@example.org
Journal of Historians of Netherlandish Art (JHNA)
The Journal of Historians of Netherlandish Art (www.jhna.org) announces its next submission deadline, August 1, 2015. Please consult the journal's Submission Guidelines.
JHNA is an open-access, peer-reviewed journal published twice per year. Articles focus on art produced in the Netherlands (north and south) during the early modern period (c. 1400-c.1750), and in other countries and later periods as they relate to this earlier art. This includes studies of painting, sculpture, graphic arts, tapestry, architecture, and decoration, from the perspectives of art history, art conservation, museum studies, historiography, technical studies, and collecting history. Book and exhibition reviews, however, will continue to be published in the HNA Newsletter.
The deadline for submission of articles is August 1, 2015.
Alison M. Kettering, Editor-in-Chief
Mark Trowbridge, Associate Editor
Dagmar Eichberger, Associate Editor
Cultural transactions between Italy and the Low Countries in the Cinque/ Seicento
Following on from a one-day WIS seminar dedicated to painter Michiel Coxcie's artistic and cultural contacts with Italy, Incontri. Rivista europea di studi italiani
will dedicate a special issue to the cultural interactions between Italy and the Low Countries in the sixteenth and seventeenth centuries. In the early modern period contacts between the two regions intensified. Inhabitants from the Low Countries visited Rome and other Italian cities either for educational or professional purposes, and this mobility and contact with Italian culture, alongside the strong commercial ties between both regions, introduced many Italian cultural elements and items to the Low Countries", such as language, literature, printed books, military cultur, political and scientific ideas. In addition, the presence of many Italian soldiers in the Habsburg army during the wars in the Netherlands played an important role in this process which lasted well into the seventeenth centur. These transactions and exchanges were often facilitated by brokers. Artists, but also military men, merchants, intellectuals or clerg, were crucial players in these transnational networks.Ttheir activities served a variety of interests that connected Italy, the Habsburg Low Countries and the Dutch Republic to each other. The aim of this special issue is to study the variety and nature of cultural exchanges between both regions in the sixteenth and seventeenth centuries. The focus is therefore not limited to contact between artists, in particular we invite submissions from a variety of disciplines studying cultural interactions that aim to revisit, augment or adjust our knowledge on this theme.
We invite interested authors to submit a concise proposal .300 words1 either in Dutch, English or Italian by 15 April 2015.
Submission of the article (5000 words, footnotes included) by 1 July2015. Please adhere to the editorial guidelines: www.rivista-incontri.nl/index.php/incontri. Submissions are subjected to double blind peer review.
Submit abstract and articles to the following e-mail address email@example.com
Morgan Library & Museum
Assistant/Associate Curator of Drawings and Prints (Full-time)
The Morgan Library & Museum invites applications for the position of Assistant or Associate Curator in the Department of Drawings and Prints. The primary responsibility of this position is the care, growth, display, interpretation, presentation, and publication of a broad spectrum of the Morgan’s extensive and famous collection of fifteenth through nineteenth century drawings and prints, with a particular emphasis on the Dutch, Flemish, and German schools. In consultation with the department head, the assistant/associate curator is responsible for organizing in-house and loan exhibitions featuring this and/or related material. The holder of the position should also be able to conduct research on other parts of the department’s holdings of drawings before 1900 and to participate in exhibitions and projects in other fields and media. The assistant/associate curator will also lecture on the collection as required and will participate in the planning and content of symposia, scholars’ days, and other programs organized under the auspices of the Morgan’s Drawing Institute. Participation in the administrative tasks associated with the functioning of the curatorial department is required; this will include responding to scholarly and public inquiries related to the collection and attending meetings or serving on committees as necessary. The position reports to the Charles W. Engelhard Curator, the Head of the Department of Drawings and Prints.
- Current or anticipated Ph.D. in the History of Art required.
- Minimum of 2-3 years experience in museum work and/or the academic field of art history required; curatorial experience in European art preferred.
- Broad knowledge of the history of European art, with a preferred specialization in Northern European art of the 15th- early 19th centuries.
- Experience in organizing all aspects of loan exhibitions including but not limited to identifying loans, writing catalogue entries, design and installation, preparation of didactic materials, and media relations.
- Proven record of independent scholarly research and publications of a very high standard; excellent writing skills.
- Intellectual creativity and an interest in making scholarship accessible to a broad audience.
- Willingness to establish familiarity with, and expand knowledge of, private collections, and to participate in activities associated with the visiting committee and other supporters of the department.
- Fluency in German or Dutch, and proficiency in at least one other European language
- Strong organizational, interpersonal, and communication skills, including demonstrated ability to work successfully in a collegial environment.
- Familiarity with TMS and other museum-related computer programs desirable.
- Able to work for extended periods standing or at a computer workstation and tolerate moderate levels of dust.
- Travel as required when serving as a courier for loans
Compensation: Salary and title commensurate with experience. Excellent benefits.
To apply: Interested applicants should e-mail a cover letter with resume, salary requirements, and names of three references to: firstname.lastname@example.org
Bader Postdoctoral Fellowships in the Humanities
Department of Art
Queen’s University is pleased to announce the Bader Postdoctoral Fellowships in the Humanities effective July 1, 2015.
The Department of Art (Art History) is accepting applications for a two-year postdoctoral fellowship for a scholar who demonstrates distinction and potential for future achievement in one or more of the following research areas: material culture, contemporary art, or the history of collecting and museums. Preference will be given to research that addresses Canadian or non-European art. Interaction is encouraged with the Department’s Art Conservation Program and with the Agnes Etherington Art Centre on campus. In addition to research, this postdoctoral fellowship will include teaching one 0.5 credit (3 units) course in each of the two years.
Candidates must have completed all requirements for the Ph.D. prior to July 1, 2015. A complete application consists of: (1) cover letter; (2) current CV; (3) writing sample; (4) statement of research; (5) evidence of teaching experience; and (6) three letters of reference. Applicants are encouraged to send all documents in their application package electronically (either as PDFs or MS Word files) to email@example.com, although hard copy applications may be submitted to Janice Helland, PhD, Professor & Head, Art History & Art Conservation, Ontario Hall, Queen’s University, Kingston, Ontario, CANADA K7L 3N6.
The deadline for applications is April 30, 2015.
The University will provide support in its recruitment processes to applicants with disabilities, including accommodation that takes into account an applicant’s accessibility needs. If you require accommodation during the interview process, please contact: Department of Art, Diane Platt at firstname.lastname@example.org.
Queen’s University is committed to employment equity and diversity in the workplace, and welcomes applications from women, visible minorities, aboriginal people, persons with disabilities, and persons of any sexual orientation or gender identity. All qualified candidates are encouraged to apply; however, Canadian citizens and Permanent Residents will be given priority.
This Postdoctoral Fellowship carries a minimum full-time equivalent salary of no less than $32,173. In addition, the incumbent will be separately appointed and compensated as a Term Adjunct to teach a 0.5 credit (3 unit) University course. The Term Adjunct appointment shall be governed by the Queen’s-QUFA collective agreement. While fulfilling the duties of the Term Adjunct appointment, the Postdoctoral Fellow appointment shall be reduced accordingly.
Mellon MA History of Art Courtauld Institute of Art
Visualizing Knowledge in the Early Modern Netherlands, c. 1550-1730
Taught by Prof Joanna Woodall and Dr Eric Jorink
The Southern Netherlands and later the Dutch Republic were not only famous for their art production, but at the centre of the fundamental reconfigurations of knowledge that took place in Europe during the early modern period. Cities such as Antwerp, Leiden and later Amsterdam were ‘hubs’ attracting merchants, printers, artists and scholars from all over Europe. Old as well as new models for knowledge were not only debated but also made visible and even made tactile. Moreover, it was in the Dutch Republic that the revolutionary philosophy of René Descartes was conceived and first published. This course will be particularly concerned with the role of visuality and visual materials in these exciting developments.
We shall explore, throughout the course, the fascinating questions of what knowledge was in the early modern period, and how its foundations were shifting. While some artists were engaged in representing the Garden of Eden, the Ark or the Temple on paper and canvas or in wood as a model of knowledge, others became fascinated by the influx of unknown information for the East and West Indies and other parts of the world. Illustrations – schemes, abstractions, or images done after life – played an increasing role in the debate about the New Philosophy. Rembrandt’s Anatomy lesson of Dr Tulp was one of the many paintings in which knowledge was questioned and constructed, as were Vermeer’s Cartographer and Astronomer. Cabinets of curiosities – by far the richest in Europe – were productive sites of knowledge, where words and things were connected, often displaying previously unknown naturalia and artificialia. Another major theme will be the changing relationship between visual materials and the authority with which they were invested. Rather than separating ‘works of art’ from ‘scientific’ illustrations and materials, the course will encompass paintings, drawings and prints by canonical artists alongside, for example, the illustrations to Descartes’ Discours, original drawings by Maria Sibylla Merian and even anatomical preparations.
The Andrew W. Mellon Foundation MAs are Options in which a visiting scholar from another discipline enters into dialogue with a member of the faculty at the Courtauld Institute. They are offered for only one year. Dr. Eric Jorink is an expert on Dutch scientific culture of the early modern era. He is Researcher at the Huygens Institute for Netherlands History (Royal Dutch Academy of Arts and Sciences) in The Hague and the author of Reading the Book of Nature in the Dutch Golden Age, 1575-1715 (Brill 2010; reviewed in this issue of the Newsletter).
Students with a background in art history, history and/or the history of science and ideas are particularly encouraged to apply for this Option. Knowledge of Dutch or a Germanic language, whilst not essential, would be an advantage.
We are accepting applications to this MA Special Option on a rolling basis.
Academic Registry The Courtauld Institute of Art Somerset House, Strand London WC2R 0RN UK
Tel: +44 (0)20 7848 2635 / 2645 Fax: +44 (0)20 7848 2410 Email: email@example.com
Netherlandish Art and Architecture in an International Perspective
Radboud University Nijmegen (Netherlands) offers a new Master's specialisation in Netherlandish Art and Architecture in an
International Perspective. This comprehensive, one-year programme explores the history of painting and sculpture, architecture and the decorative arts
of the Netherlands from the Late Middle Ages to the present. Taught in English, it gives students from different countries the opportunity to
specialise in one of the most fascinating fields in art history.
Prospective students will need a Bachelor's degree in Art History or Cultural Studies, or at least 45 EC points (or equivalent) in art history courses.
In all other cases, portfolio and motivation will determine whether the candidate meets the programme requirements. In addition, students will need
adequate English language skills.
For more information, visit our website www.ru.nl/masters/naa, or contact us at Radboud University's Student Information Desk (T: +31 (0)24 361 2345; E: firstname.lastname@example.org).
New Book Titles
New Book Series from Ashgate
Monographs in Art Historiography
Series Editor: Richard Woodfield, University of Birmingham
The aim of this series is to support and promote the study of the history and practice of art historical writing focussing on its institutional and conceptual foundations, from the past to the present day in all areas and all periods. Besides addressing the major innovators of the past it also encourages re-thinking ways in which the subject may be written in the future. It ignores the disciplinary boundaries imposed by the Anglophone expression 'art history' and allows and encourages the full range of enquiry that encompasses the visual arts in its broadest sense as well as topics falling within archaeology, anthropology, ethnography and other specialist disciplines and approaches. It welcomes contributions from young and established scholars and is aimed at building an expanded audience for what has hitherto been a much specialised topic of investigation. It complements the work of the Journal of Art Historiography.
Proposals should take the form of either
1) a preliminary letter of inquiry, briefly describing the project; or
2) a formal prospectus including: abstract, table of contents, sample chapter, estimate of length (in words, not pages), estimate of the number and type of illustrations to be included, and a c.v.
Please send a copy of either type of proposal to both the series editor and to the publisher:
Professor Richard Woodfield
Editor of the Journal of Art Historiography
Erika Gaffney, Publishing Manager
Ashgate Publishing Company
101 Cherry Styreet, Suite 420
Burlington VT 05401-4405