Conferences, Journals, Fellowships
Call for Papers/Contributions
Warsaw, May 21-23, 2017.
Call for contributions for the Speakers'
Deadline: February 15, 2017
Another look at the Le Nain
Musée du Louvre-Lens, May 5-6, 2017
Since its rediscovery more than a century ago, the Le Nain’s work has fascinated French art history from Champfleury to Jacques Thuillier through Paul Jamot. If this fascination invited us to go beyond the study of the genre painting and the elaboration of the catalogue raisonné based on the distinction between the three brothers, some dimensions of their work have been left aside: their possible relationships with Northern culture were rapidly neglected, the dialogue with the historians has never been really established.
Taking advantage of the Le Nain’s exhibition which will take place in the region Hauts-de-France at the Louvre-Lens from March 22th until June 26th (after a first retrospective exhibition in the US) – an exhibition that gives to its curators the opportunity to attribute the famous Academy of men to a Northern painter – this symposium intends to encourage other looks on the Le Nain and give rise to new questions on their works, in particular by moving them closer to Northern culture, with which they were in contact through the fair of Saint-Germain-des-Prés.
Attention mainly will be given to two fields:
Material culture, social world
If no one believes anymore that genre painting is a photography of the rural world, the Le Nain have built a remarkable inventory of 17th century material culture and daily practices, from clothes to food, which still have to be explored. Likewise, their paintings give a vision of the social and family relationships, urban or rural, which still have to be investigated. Neil MacGregor has proposed to see in their representations of peasants an echo of the division of rural classes in the Laonnois region; Jean-Pierre Cuzin has questioned rightly the figured population in some group portraits, suggesting to see children from urban upper middle classes placed in rural families. Such approaches deserve to be resumed and prolonged.
Symbolic culture, learned world
Most scholars now accept to see in the Peasant Meal (previously called the Drinkers!) an urban act of charity alluding to the Supper at Emmaus. But, by which mental process was this lectura difficilior possible during the 17th century? Likewise, if the Allegory of the Louvre has not found yet its true title, is this because the Le Nain did not master the codes of allegory or is it because they produced these codes?
From the ancient bust laid in the Workshop to the multiple quotations in the Bacchus and Ariadne, are not the Le Nain, in their genre scenes as well as in their history paintings, painters playing with a learned culture?
Following the wish of opening up new approaches, we will keep an open section, in order to stimulate the exploration of new avenues, from the interpretation of the paintings to the elaboration of the corpus. Proposals which concentrate on the Le Nain’s work will be however favoured.
This conference will take place from Friday 5th to Saturday 6th of May. The proceedings will be published according to modalities still to be defined (an online edition being probable). The organizers will take in charge the travel costs (within Europe) and the accommodation for two nights.
Anyone who would like to participate are invited to send their proposal (400-500 words + one page CV) before February 15th 2017 to Fabien Dufoulon (firstname.lastname@example.org). They will receive an answer at the beginning of March. In order to facilitate the discussions, it is necessary to send the paper on May 1st at the latest to the organizers and chairs of the sessions. These two study days are conceived more as a discussing workshop than as a succession of papers. They are organized by the Musée du Louvre-Lens in collaboration with three research centres with different disciplinary approaches, an evidence of this interdisciplinary goal: the Centre Georges Chevrier (CNRS/Université de Bourgogne, Dijon), the Centre for Early Modern Cultural Analysis (GEMCA, Université de Louvain), the Institut de Recherches Historiques du Septentrion (CNRS/Université de Lille).
Scientific committee: Olivier Bonfait (CGC), Ralph Dekoninck (GEMCA), Gaëtane Maës (IRHiS), Nicolas Milovanovic (Musée du Louvre, curator of the exhibition), Luc Piralla (Musée du Louvre-Lens, curator of the exhibition).
Art and Catholicism in the Dutch Republic
Städel Museum Frankfurt, in collaboration with the Technische Universität Dortmund, March 15-17, 2018.
Deadline: February 20, 2017
In the Dutch Republic, Calvinism was the officially privileged religion, yet, it never became the state religion. Other denominations were tolerated and a high percentage of the population – the rate varies greatly in different regions – consisted of Catholics. For a long time, art history has considered the Netherlands as an exclusively Calvinist territory having brought forth only secular and moralizing paintings for a private context. However, this narrow understanding of the visual arts has been broadened throughout the last decades.
Until now, Catholicism has been focused on in the context of the furnishings of house churches. In addition, the confession of many artists was determined and individual paintings were analyzed regarding their Catholic message. Recently, the transconfessional element in the works by artists like Rembrandt and Hendrik ter Brugghen was elaborated. Despite a growing awareness of art production in a multi-confessional society, detailed investigations of the relationship between art and Catholicism are still something most desirable.
As a tolerated minority, Catholics could not practice their belief publicly. Often, they had to pay protection money and their processions could only take place secretly and privately. In spite of the restrictions, the number of members increased and a well-functioning church came into existence to which secular and regular clergy as well as spiritual virgins (geestelijke maagden or klopjes) ministered. What was the function of paintings and other visual media in constituting a collective confessional identity? Did they help to formulate and memorize Catholic beliefs? Was there a specifically Catholic iconography and whom was it addressed to? Which images were placed within the religious community, which were generally aimed at a transconfessional group of recipients? Did they address issues of controversial theology? Was there a gradual change in the genres of art and their application?
The conference intends to analyze the relationship between art and Catholicism in the Northern Netherlands from the late 16th until the late 18th century with a thematically and methodically broad approach. Emphasis will be put on visual media, yet, other contributions from the perspective of theology, literary sciences, theater arts, or musicology are welcome.
Papers from the following fields of research are possible:
Theology of image
Catholic devotional books
Catholic iconography vs. confessionally “neutral” iconography?
Confessional networks and transconfessional relations
The Orange court as a space of transconfessional exchange
House churches and their furnishings
Art for convents, Beguines, and Catholic hofjes
The conference will take place contemporaneously with the exhibition “Rubens: Metamorphoses” (working title) in the Städel Museum in Frankfurt, which deals with the artist's creative handling of artistic models. Proposals for a 30-minute paper in German, English or Dutch should be max. 350 words in length and must be submitted to email@example.com and firstname.lastname@example.org until Feb. 20th, 2017.
PD Dr. Esther Meier
Institut für Kunst und Materielle Kultur
DFG-project „Nach dem Bildersturm: Die Ausstattung katholischer Kirchen in Augsburg, Antwerpen und den nördlichen Niederlanden. Eine komparatistische Studie“
Dr. Almut Pollmer-Schmidt
60596 Frankfurt am Main
Royal Museums of Fine Arts of Belgium, Brussels
Archival Research Fellow in the Jordaens Van Dyck Panel Paintings Project
Job Profile and Requirements
The Jordaens Van Dyck Panel Paintings Project (JVDPPP) is seeking to appoint an Archival Research Fellow. JVDPPP is a groundbreaking and innovative multi-disciplinary art historical initiative. It is examining the oil paintings on panel of the 17th Century Flemish painters, Jacques Jordaens (1593-1678) and Sir Anthony Van Dyck (1599-1641). In addition to its scientific examinations, JVDPPP is researching the lives and careers of these artists, including their relationship to the studio of Rubens and Antwerp panel makers. Further information about the project can be found on its website, www.jordaensvandyck.org.
The Archival Research Fellow will be responsible for researching 17th Century archives pertaining to these painters and panel makers, mainly but not exclusively in the Antwerp archives. This includes both verifying documents already published, sourcing new material and working closely with the English translator of the documents.
The Archival Research Fellow will be appointed as an independent scholar on a competitive contract with the Royal Museums of Fine Arts of Belgium, the lead partner of the project. S/he will conduct their research under the guidance of the Project Leader and in collegial collaboration with the other members of the JVDPPP team. It is envisaged that s/he will work primarily in the archives, based from home. A desk in the Royal Museums of Fine Arts Belgium will also be provided.
The duration of the contract will be 24 months, commencing as soon as possible. The 24 months may be taken full-time or part-time over 30 months until the end of July 2019.
Prospective candidates should contact the Project Leader (see below) for further information if necessary.
MA or PhD diploma in Art History or History preferred with experience in reading and interpreting archival source material. Experience in 17th Century Flemish archives would be an asset.
Fluency in English (the working language of the project) and working level Dutch. French and German would be an asset. Shortlisted candidates will be invited to the Brussels museum for an interview and a short written assignment based on an archival document.
Candidates should send a motivation letter and a C.V. in English by e-mail to the JVDPPP Project Leader, latest by 8 February 2017:
Dr. MBA Joost Vander Auwera
Senior Curator- Project Leader JVDPPP Project
Royal Museums of Fine Arts of Belgium
Telephone: +32 2 508 32 27
The Rijksmuseum Fellowship Program
The Rijksmuseum operates a Fellowship Programme for outstanding candidates working on the art and history of the Low Countries whose principal concern is object-based research. The aim of the programme is to train a new generation of museum professionals: inquisitive object-based specialists who will further develop understanding of art and history for the future. The focus of research should relate to the Rijksmuseum’s collection, and may encompass any of its varied holdings, including Netherlandish paintings, sculpture, decorative arts, prints, drawings, photography and historical artefacts. The purpose of the programme is to enable applicants to base part of their research at the Rijksmuseum, to strengthen the bonds between the universities and the Rijksmuseum, and to encourage the understanding of Netherlandish art and history. The programme offers students and academic scholars access to the museum’s collections, library, conservation laboratories and curatorial expertise.
The Rijksmuseum Fellowship Programme provides opportunities for recent graduates (at the Master’s level), as well as doctoral and post-doctoral candidates. The programme is open to candidates of all nationalities and with varied specialisms. They may include art historians, curators, conservators, historians and scientists. Candidates should have proven research capabilities, academic credentials and excellent written and spoken knowledge of two languages (English and preferably Dutch or German). Fellowships will be awarded for a duration ranging from 6-24 months, starting in the academic year 2017-2018. Please review the Rijksmuseum website for detailed information on each individual Fellowship position.
Fellowship stipends are awarded to help support a Fellow’s study and research efforts during the tenure of their appointment. The stipend amount varies by funding source and Fellowship period. Visit the Rijksmuseum website for further information.
Application and procedure
Please review the eligibility, funding and application requirements by visiting the Rijksmuseum website. For the 2017-2018 academic year, candidates can apply for:
- The Andrew W. Mellon Fellowship for art historical research
- The Johan Huizinga Fellowship for historical research
- The Migelien Gerritzen Fellowship for conservation research
- The Manfred & Hanna Heiting Fellowship for photo-historical research
The closing date for all applications is 12 March 2017, at 6:00 p.m. (Amsterdam time/CET). No applications will be accepted after this deadline. All applications must be submitted online and in English. Applications or related materials delivered via email, postal mail, or in person will not be accepted.
Selection will be made by an international committee in April 2017. The committee consists of eminent scholars in the relevant fields of study from European universities and institutions, and members of the curatorial and conservation staff of the Rijksmuseum. Applicants will be notified by 1 May 2017. All Fellowships will start in September 2017.
For questions concerning the application procedure, contact Marije Spek, Coordinator of the Fellowship Programme (email@example.com), +31 (0)20-6747395.
Fulbright-American Friends of the Mauritshuis Award
The purpose of the grant is to provide advanced training, research and educational opportunities in paintings conservation. The grant will focus on the study, examination and treatment of works of art in the collection of the Mauritshuis, in combination with a tailor made study program at the University of Amsterdam. The grantee will gain practical experience and knowledge treating paintings in the conservation studio of the Mauritshuis, under the supervision of the conservators of the museum. The grantee will participate in workshops, (informal) lectures, symposia and other events at the university. During the grant period, research will not only include paintings in the Mauritshuis collection, but also pictures in other Dutch and/or European institutions.
Scholar-in-residence at the Dutch University Institute for Art History
The Dutch University Institute for Art History in Florence (NIKI)
offers a scholar-in-residency accommodation for a distinguished
researcher in art history to spend time dedicated to his/her projects.
A candidate for this accommodation will have an excellent international
reputation in a field of research that is of relevance to the Institute
(Italian art; artistic relations between Italy and the Low Countries;
Netherlandish art in Italy).
A scholar-in-residence is offered:
- 4 month accommodation in the Dutch University Institute for Art
History in Florence, including standard housing utilities
- Access to the research library and photographic archives
During the period of residency, the scholar will:
- prepare a scholarly publication
- give public lectures at the Institute and/or
- assist with the current teaching activities at the Institute and/or
- participate with the organization of an international conference
- actively participate in the Institute’s scholarly community
- if relevant, create opportunities for collaboration between the
Institute and one’s home university
Applications can be submitted at any time. There is no deadline for
applications. Candidates will indicate the period that they would like
to be in residence.
Application will include:
- a letter of application for the scholar-in-residency
- a proposal for the period of the scholar-in-residency, not to exceed
- a CV
- name of editor/publisher of projected publication
- names of 2 colleagues from whom recommendations may be requested
- Research topic’s relevancy to the areas of focus promoted by the
- Innovative nature and feasibility of proposed research
- motivation for a residency at the Institute
- Quality and structure work plan
- potential contribution to the teaching activities at the Institute
- Applications must be submitted by email to the director of the Dutch
University Institute for Art History in Florence: prof. dr. Michael W.
- Based on the selection criteria, the Director advises the chair and
two members of the Scientific Advisory Board of the Institute. Together
they form the selection committee.
- The director informs the applicant on the outcome of the selection
Istituto Universitario Olandese di Storia dell'Arte, Viale Torricelli
5, 50125 Firenze
Tel. 055.221612 Fax. 055.221106
Journals and Book Series
Call for Proposals
Journal of Historians of Netherlandish Art (JHNA)
The Journal of Historians of Netherlandish Art (www.jhna.org) announces its next submission deadline, March 1, 2017. 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 March 1, 2017.
Alison M. Kettering, Editor-in-Chief
Mark Trowbridge, Associate Editor
Dagmar Eichberger, Associate Editor
Jacquelyn Coutré, Associate Editor
Coordinates: Digital Mapping and 18th C Visual, Material, and Built Cultures
Art history’s digital turn has been stimulated by the possibilities of spatial research. Spurred by the collection, preservation, and distribution of art historical data in digital space—practices that have both collapsed and expanded our own discursive geographies—scholars have exploited the potential of geospatial analysis for art historical study. These new methods are particularly promising for the study of the early modern world, which has been fruitfully understood through the prisms of connections and exchanges that crossed world regions and defied the boundaries drawn on static maps. Digital mapping platforms and applications like CartoDB, Neatline, ArcGIS, Leaflet, and MapBox have made it possible, for example, to visualize the movement of people, such as artists, through temporal and geographic space, thus allowing us to reimagine personal and material contacts in tangible ways. Moreover, the dynamic lives of mobile and fungible objects can be displayed in extended and often circuitous trajectories, thus encouraging the kind of nonlinear visual analysis that is foundational to the practice of art history. Georectification tools have further facilitated the reconciliation of historical figurations of space with contemporary visualizations, which allows competing spatial narratives to coexist productively in a digital realm, while also challenging the magisterial view offered by modern cartography.
In this issue of Journal18, we seek to feature current scholarship that relies on the analytical power provided by digital mapping interfaces for the study of visual, material, and built cultures during the long eighteenth century. How do digital humanities methods and tools shape our understanding of space and place in the early modern period? What impact might digital mapping have on our historical investigations of people, objects, and their environments? Submissions may take the form of an article (up to 6000 words) or a project presented through a digital platform that takes full advantage of Journal18’s online format. We also welcome proposals for shorter vignettes (around 2,500 words) that reflect on projects in progress or consider the potential for particular mapping methodologies for eighteenth-century art history.
Carrie Anderson, Middlebury College
Nancy Um, Binghamton University
Proposals for issue #5 Coordinates are now being accepted. Deadline for proposals: April 1, 2017.
To submit a proposal, send an abstract (200 words) and a brief CV to firstname.lastname@example.org and email@example.com. Articles should not exceed 6000 words (including footnotes) and will be due on November 1, 2017. For further details on the submission process see http://www.journal18.org/info/.
Early Modern Low Countries (EMLC)
In the spring of 2017, Early Modern Low Countries (EMLC) will publish
its first issue. This new open access journal will appear in two
installments every year, containing high-quality, original scholarship
for an international readership on any aspect of the history and
culture of the Low Countries between 1500 and 1800. The successor of
two well-reputed Dutch-language journals (De Zeventiende Eeuw and De
Achttiende Eeuw) EMLC aspires to publish papers by scholars from
various disciplinary backgrounds working anywhere in the world.
During the early modern period, the Low Countries were major players on
the world stage, and a hotbed of momentous cultural, economic,
philosophical, religious and political changes and innovations. Flemish
and Dutch artists, authors, and scholars made influential contributions
to international cultural movements and the Scientific Revolution. As
an international hub, the Low Countries connected cultures and networks
from around the globe. They were both the recipients and place of
origin of numerous migrants, and merchants and entrepreneurs from these
parts dominated world trade. Partly as a result of this, consumers in
the urbanized Low Countries were among the first to embrace non-Western
products. EMLC aspires to contribute to the study of this crucial
region from multidisciplinary perspectives and within global contexts.
The editors invite scholars working in this field to submit a paper of
6-8,000 words. Both case studies and theoretical or programmatic
articles will be considered for publication. EMLC publishes all
articles in Open Access, allowing authors to retain their rights and
distribute their articles as they please. All articles will be
rigorously peer-reviewed and edited. We do not charge Article
Processing Fees (APCs).
EMLC will also publish reviews and notifications of recent books on the
early modern Low Countries. If you have a suggestion for a book to
review or if you are interested to become a book reviewer please
contact Julia van Marissing (firstname.lastname@example.org).
EMLC is an initiative of the Study Group Seventeenth Century (founded
in 1985) and the Dutch-Belgian Society for Eighteenth-Century Studies
(founded in 1968), which both aim to stimulate interdisciplinary
research on the cultural heritage of the early modern Low Countries and
to promote contacts between researchers from different disciplines.
EMLC has an ongoing submission policy. Please send your manuscript as a
Word Document to Tiffany Bousard (email@example.com). The
EMLC website will be launched in 2017. Author guidelines can currently
be found here: https://achttiendeeeuw.wordpress.com/call-for-papers/
Tiffany Bousard (Leiden University, editorial office)
Brecht Deseure (Free University Brussels / University of Passau)
Feike Dietz (Utrecht University)
Helmer Helmers (University of Amsterdam)
Elmer Kolfin (University of Amsterdam)
Joris Oddens (Leiden University)
Maarten Prak (Utrecht University, chair)
Anjana Singh (Groningen University)
Violet Soen (University of Leuven)
Series from Amsterdam University Press
A forum for innovative research on the role of images and objects in the late medieval and early modern periods, Visual and Material Culture, 1300-1700 publishes monographs and essay collections that combine rigorous investigation with critical inquiry to present new narratives on a wide range of topics, from traditional arts to seemingly ordinary things. Recognizing the fluidity of images, objects, and ideas, this series fosters cross-cultural as well as multi-disciplinary exploration. We consider proposals from across the spectrum of analytic approaches and methodologies.
For more information, or to submit a proposal, please contact Erika Gaffney, Senior Acquisitions Editor, at Erika.Gaffney@arc-humanities.org. Or, visit https://www.facebook.com/VMCseries/?ref=br_rs or http://en.aup.nl/series/visual-and-material-culture-1300-1700.
Rijksmuseum & RKD Summer School
From 13 to 22 August 2017 the Rijksmuseum and the RKD – Netherlands Institute for Art History organise a Summer School which offers a unique, in-depth immersion into 17th-century Netherlandish art and history. The 2017 edition of the Summer School is themed around ‘Dutch art in an international perspective’.
As national institutions, The Rijksmuseum and the RKD share a mission to further develop the understanding of Netherlandish art and history for the future by conducting and facilitating high-level research. Dating back to 1992, the institutions have joined forces to organize a biennial Summer School with the goal of offering the next generation of art historians the opportunity to enrich and deepen their knowledge of Netherlandish art. The exclusive programme enables candidates to immerse themselves within the Dutch art world and museum field, and build up a relevant network.
Traditionally Dutch art has been studied and shown as a national phenomenon, whereas the current globalization causes a new tendency to explore Dutch art in an international perspective. Only the study of international cultural and artistic exchanges will provide a balanced understanding of the production and collecting of art from the Low Countries. The aim of this Rijksmuseum & RKD Summer School is to give an in-depth immersion into Dutch art of the Golden Age, with a specific transnational focus.
A series of lectures, presentations, workshops and excursions will provide insight into the latest developments in Dutch art history, research and exhibition projects, as well as methodologies. A number of the sessions have been designed to encourage interactive discussion between the speakers and the course participants. There will be ample opportunity for discussion in front of the original works of art. Moreover, the participants are offered the possibility to build up a network of contacts with prominent scholars and museum professionals in The Netherlands.
The Summer School is primarily intended for young museum curators, recent MA graduates, PhD candidates and professional art historians specializing in 17th-century Dutch art. A total of 15 candidates will be selected based on CV and motivation. The ability to communicate in English is required.
Application and procedure
The closing date for all applications is 19 March 2017, at 6:00 p.m. (Amsterdam time/CET), but applications are reviewed on a rolling basis and we therefore encourage candidates to apply at their earliest convenience.
The Rijksmuseum and the RKD reserve the right to cancel the Summer School should the number of eligible applicants not meet the minimum requirement or due to unforeseen circumstances.
For more detailed information please visit https://www.rijksmuseum.nl/summer-school
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: firstname.lastname@example.org
Dutch language-course in June 2017 at Columbia University for Graduate Students (tuition-free)
Applications are invited for a month-long course in modern Dutch, early modern Dutch/paleography, and archives in the Netherlands, each section of which can be taken separately. The course is free-of-charge. Funding has been provided through the Queen Wilhelmina Professorship at Columbia University and by the University of Amsterdam.
The course has three distinct sections, and students may apply to any or all of the three. A single letter of application will suffice for any section(s) of the course, but applicants should be sure to include the appropriate supporting materials for the particular section(s) of the course to which application is being made.
APPLICATIONS FOR ALL SESSIONS ARE DUE MONDAY, FEBRUARY 27, 2017.
- two weeks of Modern Dutch for Reading Knowledge [(Week I & II (5/30 - 6/2 & 6/5 - 6/8)]
- one week of 17th-century Dutch/paleography [(Week III (6/12 -6 /15)]
- one week archival workshop in Amsterdam [(Week IV (6/19 - 6/22)]
(All weeks run from Mondays through Thursdays, except for Week I, which runs from Tuesday through Friday - Memorial Day is Monday 5/29)
Descriptions of the courses and requirements for admission to each section
Week I & II: Modern Dutch for Reading Knowledge
This section will cover reading skills, grammar and vocabulary in modern Dutch.
Open to all students with the equivalent of 2 semesters or more of Dutch at the university level. Students must submit transcripts showing their successful completion of required coursework or other evidence of competence in the language. Preference will be given to students enrolled in a PhD program.
Students who are unsure if their level of Dutch is satisfactory should contact Ms. de Groot to arrange an evaluation (email@example.com).
Week III: 17th-century Dutch texts/paleography workshop
The workshop will cover reading strategies of 17th-century printed and handwritten texts.
Open to all students with the equivalent of 3 semesters or more of Dutch or 2 full years of German at the university level. Students must submit transcripts showing their successful completion of required coursework, or other evidence of competence in the language. In addition, students should submit a letter of application explaining their reason for registration. Preference will be given to students enrolled in a PhD program.
Week IV: Archival workshop in Amsterdam
This workshop (in collaboration with the University of Amsterdam) will take place in the Netherlands and will introduce students to archives in Amsterdam and to the kinds of sources available there and in other archives or libraries in the Netherlands. Space for this week is limited and highly competitive. Preference will be given to PhD candidates who are ready to start dissertation research.
For this section of the course, local travel expenses will be covered, but participants need to find and pay for their own lodging. Some meals may be covered as well. Email Wijnie de Groot at firstname.lastname@example.org for additional information, and suggestions for affordable lodging.
Applicants for the Amsterdam portion of the course must
- have completed MA thesis and first-year of graduate work at the Phd level
- be enrolled in a PhD program
- must be at or close to the stage of planning the dissertation research and have a good idea of the kinds of sources that will be necessary
- submit a letter of support from advisor or principal faculty member: the letter should endorse the usefulness of the trip and the archival experience, in the expectation that it will lead to archival work for the thesis.
- submit a letter of purpose: it should explain how the training will advance their ongoing or planned research for a doctoral thesis.
- show evidence of competence in reading skills in modern Dutch. To do so, applicants must pass a written language test or provide a letter from an instructor of Dutch at the university level attesting to adequate reading skills. Please contact Wijnie de Groot to schedule a language test.
All applications, along with supporting documents, should be emailed to Wijnie de Groot
at email@example.com. They are due February 27, 2017.
Inquiries should also be directed to Ms. de Groot at that email.
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).
Renewed Research Master’s programme: Art History of the Low Countries at Utrecht University
Utrecht University has run an English-language Research Master’s programme in Art History of the Low Countries since 2004. Working closely with major museums in and outside of the Netherlands, the programme addresses Dutch and Flemish art from the Middle Ages to the present day and in an international context.
Teaching is strictly research-based, which means that course topics relate to ongoing research projects, participants engage in hands-on and on-site research, and they are coached in understanding and writing research proposals. As of 2017, the programme has been realigned along three core interests that tie into recent scholarly trends: Global Art History, Technical Art History, and Digital Art History. At the same time, students are encouraged to pursue individual interests in tailored tutorials and internships. Five new staff members (Marjolijn Bol, Sven Dupré, Sjoukje van der Meulen, Sarah Moran, and Thijs Weststeijn) have been hired to further develop this programme.
Student admission is on the basis of previous results, a letter of motivation, and a preliminary study plan. Registration is open until April 1st (non-EU students) or June 1st (EU students).
For more information please visit the website (www.uu.nl/masters/art-history) or contact programme coordinator Dr. Victor Schmidt (email@example.com).