Call for Sessions/Papers/Articles/Essays
Early Modern Women and the Visual Arts: Open Session
Chair: Andrea Pearson, American University, Washington, DC
Sponsor: The Society for the Study of Early Modern Women
The Society for the Study of Early Modern Women seeks papers for an open session that explores women's engagement with the visual arts between 1400 and 1700. All subjects and approaches are welcome, including, for example, women's contributions to art-making and art patronage, the deployment of the arts for social intervention and change, the gendering of pictorial representation and artistic practices, and the use and manipulation of architectural space.
Please send a one- to two-page double-spaced abstract and a two-page c.v. by June 1, 2013, to Andrea Pearson at firstname.lastname@example.org.
Notification by June 7.
Art on the Move: Cultural Transmission and Artistic Exchange in the Low Countries, 1572-1700
International Conference, Museum Boijmans van Beuningen, Rotterdam, April 10-11, 2014.
During the seventeenth century the market for visual arts flourished in the Dutch Republic, ranging from cheap prints to top-quality paintings. Meanwhile the Southern Netherlands experienced an “Indian summer”, pouring out tapestries, paintings, sculptures, books and musical instruments. Both artistic centres have been studied extensively, but mostly as separate entities. For example, the movement of artists has never been systematically mapped, just as very little is known about the trade in art objects and the exchanges in artistic styles between both regions. The aim of this conference, therefore, is to identify and explore the artistic dialogue between the Southern Netherlands and the Dutch Republic.
The first step is to map the artistic exchanges in both directions. We invite proposals focussing on three key areas: the circulation of artists, art works and artistic styles. Did artists move for religious, economic or familial reasons? Why were some destinations more popular than others? How did artists adapt to local markets and guild practices? What was the intensity and scope of the art trade? How did art dealers shape artistic practices and tastes? To what extent did the circulation of art and artists lead to innovations in motifs, styles and techniques? Secondly, we welcome contributions dealing with the wider implications of such exchanges for the history of art and culture in the Low Countries. For example, what impact did the circulation of people and art works have on the art market? Did it stimulate the growth of creative industries, and did it give rise to a new artistic culture? To what extent did the Low Countries share a same cultural heritage? Finally, we invite proposals that address these questions from a comparative perspective, by focusing on the artistic exchanges between the Low Countries and other regions, for example England, Germany or Spain.
Proposals for 20-minute papers, consisting of a short CV and an abstract of no more than 300 words (preferably all in a single file), should be submitted by email before June 15, 2013, to David van der Linden: email@example.com
This conference is organised by the NWO-funded research program “Cultural transmission and artistic exchange in the Low Countries, 1572-1672”, led by Filip Vermeylen (Erasmus University Rotterdam), Karolien de Clippel (Utrecht University) and Eric Jan Sluijter (University of Amsterdam). For more information on the project and its team members, see: http://artistic- exchange.com/
Journal of Historians of Netherlandish Art (JHNA)
The Journal of Historians of Netherlandish Art (www.jhna.org) announces its next submission deadline, August 1, 2013. 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, 2013.
Alison M. Kettering, Editor-in-Chief
Mark Trowbridge, Associate Editor
Jeffrey Chipps Smith, Associate Editor
Rubens scholars kindly are invited to submit original articles for the next issue of the Rubensbulletin, the online journal of the Royal Museum of Fine Arts Antwerp. The Rubensbulletin focuses on art historical research topics related to the work of Peter Paul Rubens and his assistants.
The title of the electronic periodical refers to the Rubens Bulletijn, a journal that appeared in Antwerp from 1882 to 1910 and that used to disseminate sources on Rubens and his contemporaries across the world. The new Rubensbulletin continues this long tradition of Rubens research in Antwerp, the master's hometown. By means of this forum, the Royal Museum intends to stimulate the development and consolidation of an international Rubens network.
Contributions should be in English. The publication is supervised by the members of the Rubens research project of the Royal Museum of Fine Arts Antwerp and an editorial board. Modifications may be required.
The deadline for submission of articles is September 1, 2013.
The editors are pleased to announce that Simiolus, vol. 36, 2012, nos. 1/2, is the first issue to feature an article that was awarded the Bader Prize, established by Alfred and Isabel Bader. The prize went to Ed Wouk (New York) for his article “Reclaiming the antiquities of Gaul: Lambert Lombard and the history of northern art.”
The editors are looking forward to receiving the manuscripts for the next Bader Prize before June 15, 2013, and promise to publish the winning contribution in Simiolus 37. For further details, please consult www.simiolus.nl
Dutch Crossing: Journal of Low Countries Studies
We invite scholars from all disciplines to submit original articles via the journal’s submissions tracking system. All submissions are blindly peer-reviewed and modifications may be required. Contributions should be in English, be accompanied by a 300 word abstract and provide translations of quotations in Dutch. The journal’s styleguide, full editorial policy and a cumulative index of all articles from 1977–2009 are available on the journal’s website.
We are also planning to launch special theme issues of Dutch Crossing from 2010 onwards, when the journal’s publication frequency will be raised to three issues per year. Apart from history, art history, literature and language we are interested in such topics as philosophy, visual arts, socio-linguistics, and popular culture. Proposals for themed issues may be sent to the editors: firstname.lastname@example.org. Past thematic issues have been produced on such topics as Anglo-Dutch relations in the 17th Century; Williamite Scotland and the Dutch Republic; contemporary Dutch women writers; Frisian culture; Landscape Painting; and Literary Translation and Medieval Drama.
Information on Subscription
Since 2009, Dutch Crossing is published by Maney Publishing (London, Leeds, Cambridge, Mass.) and is available both online (via IngentaConnect) and in print (ISSN 0309-6564). It is indexed and abstracted by a growing number of international indexing and abstracting services, including the Periodicals Index Online and the British Humanities Index (ProQuest), Current Abstracts and TOC Premier (both Ebsco) and the Modern Language Association (MLA). Some free content is available on IngentaConnect.
Individuals can subscribe to the journal at preferential rates by becoming a member of the Association for Low Countries Studies (ALCS) whose journal Dutch Crossing has become in 1997. Current membership fees, including subscription to Dutch Crossing are £31 (UK), $55 (US) or €40 (EU). Membership requests can be sent to A.C.Evans@sheffield.ac.uk. A recommendation letter to libraries is available on Maney’s website.
Oud Holland, Quarterly for Dutch Art History now celebrates its 125th Volume!
Starting with the first issue of this 125th volume the layout of the journal has been updated and the journal now appears in full color for the first time in its history.
Oud Holland, the oldest surviving art history journal in the world, is devoted to the visual arts in the Netherlands up to the mid-nineteenth century. The journal contains articles of an equal number of Dutch authors and non-Dutch authors. There are four working languages used in the magazine (Dutch, English, French and German). Each non-English article has an English summery. Oud Holland is published four times a year. Every volume is richly illustrated and has at least 220 pages.
To celebrate the 125th volume of Oud Holland, we are pleased to offer a 25% discount on individual subscriptions for new subscribers to the 2012 volume. Individual subscriptions include print and online access, as well as access to all back volumes online. For more information on the journal, visit: http://brill.nl/oh. Orders may be placed via email email@example.com, (mention discount code 50175).
If you have questions, please do not hesitate to contact us at firstname.lastname@example.org.
Oud Holland, Quarterly for Dutch Art History is edited by the Netherlands Institute for Art History and published by Brill.
Personification: Embodying Meaning and Emotion
Special volume of Intersections
Intersections is a peer-reviewed series on interdisciplinary topics in early modern studies. Each volume focuses on a single theme and consists of essays that explore new perspectives on the subject of study. The series aims to open up new areas of research on early modern culture and to address issues of interest to a wide range of disciplines. More information on Intersections: brill.com/inte
We are now soliciting manuscripts for a special volume in the series on: Personification: Embodying Meaning and Emotion.
Personification, or prosopopeia, the rhetorical figure by which something not human is given a human identity or ‘face’, is readily spotted, but the figure’s cognitive form and function, its rhetorical and pictorial effects, have rarely elicited scholarly attention. As a communicative device it is either taken for granted or dismissed as mere convention. The aim of the proposed volume is to formulate an alternative account of personification, to demonstrate the ingenuity with which the multifaceted device was utilized by late medieval and early modern authors and artists. The fact that literary and pictorial genres designed to appeal to large audiences, such as festival plays and royal entries, often utilize allegorical personification, indicates that the figure was seen to accommodate a wide spectrum of tastes and expectations. Personification operates in multiple registers – sensory and spiritual, visible and invisible, concrete and abstract— and it deals in facts, opinions, and beliefs. With reference to the visible, current events and situations were represented by means of personifications that objectified various social groups and institutions, as well as their defining ambitions and the forces that motivated them. As regards the invisible, processes of thinking, feeling, and experiencing were bodied forth by means of personifications that revealed how these modi operandi were constituted.
Our interest in personification is motivated by several trends that have emerged over the last decade in cultural (historical) studies, whereby artistic expression is approached from the point of view of the body, performance, and cognition. Seen in light of these trends, personification (along with the texts and artifacts that employ the figure) offers many research opportunities. In methodological terms, personification is susceptible to an approach that balances a more semiotic analysis, concentrating on meaning effects, and a more phenomenological analysis, focusing on presence effects. This approach would entail foregrounding the full scope of prosopopeic discourse – not just the what, but also the how, not only the signified, but also the signifier.
The editors welcome contributions in English from multiple disciplines (literature, history, art history, etc.) that address the topic, contextualizing it within a wide range of geographical regions and languages. Papers may be written on one or more of the following questions:
The Theory of Personification: What ideas about allegorical personification allegory circulated in late medieval and early modern times? How were its principles and workings described, either explicitly or implicitly? How can modern neuropsychological insights concerning metaphorical thinking be linked to theories of personification based in contemporary literary theory and philosophy?
The Perception of Personification: How did contemporary audiences perceive and interpret personifications? How did they react to them and make use of them? Did the device fulfill instructive, persuasive, propagandistic, mnemonic, or even meditative and contemplative functions? To what extend did personification stimulate the imagination or the inner eye? What about the element of playfulness?
The Means of Personification: How was the device constituted? What (self-) descriptive naming procedures were involved? What kind of visual and verbal interactions were involved? What clothes, attributes, gestures, facial expressions, positions and actions? What courses of events or chains of thought, aided either by dialogue (in plays) or inscriptions (on prints)?
The Context of Personification: What were the wider circumstances within which personification and genres based on personification allegory came to be employed, and how do these circumstances help to explain both the contents and effects of the device in practice? Did particular religious, social, and political situations stimulate its use?
A separate colloquium is being planned. Alternatively, in order further to develop the topic and to foster prospective contributions, clusters of authors will be invited to participate in a series of panels on the theme of personification, to be proposed for the Renaissance Society of America’s 2014 Annual Meeting in New York. Similar panels may also be proposed for the 2014 Sixteenth Century Studies Conference in New Orleans.
The final collection of essays will appear in 2015. The editors are Bart Ramakers and Walter S. Melion.
Proposals (300 words) for contributions should be sent electronically no later than June 1, 2013 to:
Bart Ramakers (University of Groningen) email@example.com
Walter S. Melion (Emory University) firstname.lastname@example.org
Call for Research in Progress and Dissertations
Early Modern Architecture
Early Modern Architecture (http://earlymodernarchitecture.com) is a new initiative that explores global, interdisciplinary frameworks for the architecture (design, theory, and practice) of Europe and its colonies, 1400-1800. We are particularly interested in fostering discussion about innovative issues, areas of inquiry, and approaches across both research and education. A major component of this initiative, therefore, will be encouraging a rigorous network of exchange among scholars and professionals.
As a step toward this exchange, we are now compiling two international lists: one of research projects in progress and one of Ph.D. dissertations -- both from any discipline and on any aspect of this field. We will post these lists on our website once we have gathered a substantial number of entries. The lists, we hope, will become an ongoing means for scholars to learn about up and coming research as well as to locate others who share their geographical and/or methodological concerns.
If you have a research project in progress or are writing a dissertation that is in progress or was completed during the 2010-2011 school year, please email us at email@example.com with the author's (and supervisor's) name, the working title, and the names of your department as well as institution. We will then add your information to our lists. We appreciate your contribution to this component of the Early Modern Architecture initiative.
Freek Schmidt (Associate Professor, Faculty of Arts, Vrije Universiteit Amsterdam); Kimberley Skelton (independent scholar)
Artists on the Move. Sculptors from the Low Countries in Europe 1450-1650
The Low Countries are by no means generally considered to be the motherland of sculpture. However, at close sight it can be noticed that Early Modern
sculptors from the Northern and Southern Netherlands contributed considerably to the development of European sculpture, especially in the period
between 1550 and 1650. The most important works, though, are to be found outside the Low Countries, which seems to be one of the reasons why they have
seldom attracted scholarly attention so far. The marked mobility of Netherlandish sculptors of the 16th and 17th centuries was one of the most
important reasons for their success and their impact on the artistic development of their time. Most of them travelled far from their homelands and
worked in various countries and regions from Sweden to Spain, and from England to nowadays Ukraine. And of course, a large number of these sculptors
visited Rome, the Mekka of sculpture study in the Early Modern Era.
The diaspora of Netherlandish sculptors in the mentioned time span has not yet been systematically explored. The research project is about to dedicate
itself to this challenge. As a starting point of further investigation we envisage to set up a database, the aim of which will be to collect and
systematise biographical, geographical and chronological data of the migrating sculptors. For this purpose the documentation system of the Rijksbureau
voor Kunsthistorische Documentatie (RKD) in The Hague will be employed and adjusted to the specific needs of the project with the help of experts at
the University of Wroclaw. This kind of documentation will be instrumental in the cognition and analysis of structures and patterns within artist’s
migration and careers and could result in a ‘collective biography’. It is expected that by taking the perspective of the artist’s mobility as a
starting point, a new light could be thrown on the stylistic development of European sculpture and a new chapter could be added to the historiography
of artistic relations between the Low Countries and the rest of Europe.
If you are interested in the project please do not hesitate to contact one of the persons below.
In Amsterdam: Arjan de Koomen (Universiteit van Amsterdam) A.R.deKoomen@uva.nl
Frits Scholten (Rijksmuseum Amsterdam) firstname.lastname@example.org
In Bamberg: Eveliina Juntunen (Universität Bamberg) email@example.com
In Wroclaw: Aleksandra Lipinska (Uniwersytet Wroclawski) firstname.lastname@example.org
Positions and Fellowships
HNA Fellowship 2014--2015
We urge members to apply for the 2014-15 Fellowship. Scholars of any nationality who have been HNA members in good standing for at least two years are eligible to apply. The topic of the research project must be within the field of Northern European art ca. 1400-1800. Up to $1,000 may be requested for purposes such as travel to collections or research facilities, purchase of photographs or reproduction rights, or subvention of a publication. Winners will be notified in February 2014, with funds to be distributed by April. The application should consist of: (1) a short description of project (1-2 pp); (2) budget; (3) list of further funds applied/received for the same project; and (4) current c.v. A selection from a recent publication may be included but is not required. Pre-dissertation applicants must include a letter of recommendation from their advisor.
Applications should be sent, preferably via e-mail, by December 14, 2013, to Paul Crenshaw, Vice-President, Historians of Netherlandish Art. E-mail: email@example.com; Postal address: Providence College, 1 Cummingham Square, Providence RI 02918-0001.
Manfred & Hanna Heiting Scholarship 2013
The Rijksmuseum, Amsterdam, invites applicants for the Manfred & Hanna Heiting Scholarship 2013.
The Manfred & Hanna Heiting Fund enables the Rijksmuseum to award two scholarships every year. The aim of this postgraduate scholarship is to stimulate photo-historical research of the highest quality. The research must result in an article in the field of classical photography. It should be related to the original objects in the extensive and important collection of the Rijksmuseum, and where possible to objects in other collections. This could be an in-depth study of one photograph or photo book and/or its distribution; on a series of photographs or part of an oeuvre; on the aesthetic or technical aspects of photography; on the wider context of a photo book or album; or on combinations of art-historical research and research on materials and techniques. The international research bursary is for a period of 6 months. The researcher will work independently and will be allocated a place in the reading room of the Rijksprentenkabinet (Print Room) and have access to all the museum’s collections and library.
Requirements for applicants: Talented post-graduates in Art History or the History of Photography.
Required result: a paper or an article, to be submitted, resulting in a publication in the series Rijksmuseum Studies in Photography.
Starting: summer 2013.
Closing date for proposals: May 15, 2013
The American Friends of the Mauritshuis Fellowship
This fellowship offers grants in the field of art history, to support a project devoted to the study and connoisseurship of Dutch and Flemish art from the fifteenth through the eighteenth centuries. The fellowship is open to curators as well as graduate students in the United States. Curators requiring first hand study of objects or collections in the Netherlands or Belgium who do not have funding from their institutions are invited to apply. Graduate students should be researching dissertations that necessitate the examination of paintings, drawings or objects in the original. Graduate student candidates must hold a B.A. in art history and be working towards a Ph.D. at an American University. The stipend is $15,000.
Applicants are invited to submit a proposal with a detailed description of the project (three pages maximum) and two letters of recommendation before July 1, 2013 to firstname.lastname@example.org
Dutch Course in June 2013 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 section(s) of the course to which application is being made. APPLICATIONS FOR ALL SESSIONS ARE DUE APRIL 30.
- two weeks of Modern Dutch for Reading Knowledge [(Week I & II (5/28 - 6/6)]
- one week of 17th-century Dutch/paleography [(Week III (6/10 -6 /13)]
- one week archival workshop in Amsterdam [(Week IV (6/17 - 6/21)]
Description of the course and requirements for admission
Week I & II Modern Dutch for Reading Knowledge
This section will cover reading skills, grammar and vocabulary in modern Dutch
Open to all graduate students with the equivalent of 3 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. 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 texts and handwriting.
Open to all graduate students with the equivalent of 2 semesters or more of Dutch or 2 full years of German at the university level. This section is open to all interested students and does not require evidence of prior study of the language, but interested students should submit a letter of application explaining their reason for registration.
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 and Belgium.
Students applying to join the archives workshop in Amsterdam are required to submit a letter of purpose explaining how the training will advance their ongoing or planned research for a graduate thesis. They will also be expected to provide a letter from their advisor or principal faculty member endorsing the trip and the archival experience, in the expectation that it will lead to archival work for the thesis. Lodging, some meals, and an allowance for additional meals and local travel will be provided to participants. Students who are unable to cover the costs of airfare to and from Amsterdam may apply for support from the program, but will be expected to provide a letter from their Department Chair or Dean verifying that the student has sought university support for the travel and has been denied; the grounds for the denial should be included in the letter. The University of Amsterdam gives participants the opportunity to rent dorm rooms beyond the workshop, for the rest of the summer, if a longer stay is required for research purposes.
Applications, along with supporting documents, should be emailed to Wijnie de Groot at firstname.lastname@example.org. They are due April 30, 2013. Inquiries should also be directed to Ms. de Groot at that email.
Rice University PhD Program
Rice University announces its new doctoral program offering full tuition plus a generous stipend for five years for qualified students. Located in Houston, close to the Museum of Fine Arts and the Menil Foundation, the department at Rice includes two specialists in the field of 15th- and 16th-century northern European art and architecture:
Diane Wolfthal, author of four books and editor of three others, including The Beginnings of Netherlandish Canvas Painting; Images of Rape: The "Heroic" Tradition and its Alternatives; In and Out of the Marital Bed: Seeing Sex in Late Medieval and Renaissance Art (in press, Yale UP); and Corpus of Fifteenth-Century Painting in the Southern Netherlands and the Principality of Liège: Early Netherlandish Paintings in Los Angeles (forthcoming, co-authored with Catherine Metzger, National Gallery of Art).
Linda Neagley, a specialist in fifteenth-century art and architecture and author of Disciplined Exuberance. The Parish Church of Saint-Maclou and Late Gothic Architecture in Rouen; and numerous articles on medieval design theory, visuality and spatial representation in medieval narrative, and late gothic sculpture.
For more information contact either one of these professors, email@example.com or firstname.lastname@example.org and see the website http://arthistory.rice.edu/
MA Dutch Art in European Context
From medieval Netherlandish art to nineteenth-century Romanticism, from seventeenth-century genre painting to the De Stijl movement of the 1920s, the Dutch artistic tradition is as much a product of the interaction, exchange and reception of ideas occurring throughout Europe as it is a reflection of the Dutch themselves. The focus of this one-year MA course is on the historiography of Dutch art and the way this influenced international tendencies in collecting and presenting Dutch art in museums. This Master's program is taught in English and offered jointly by the departments of Art History and Cultural History of Europe of the University of Amsterdam.
For more information, please visit http://www.studeren.uva.nl/ma_dutch_art_in_european_context/
A new MA program in Dutch Golden
Age studies is being offered at
University College London,
King's College London and the
Courtauld Institute of Art. It is
an interdisciplinary program
combining art history, history, and
the study of Dutch language and
literature. Its focus is the
history and culture of the Dutch
Republic in the seventeenth
century, but parts of the program
treat the sixteenth century as
well, and the Southern as well as
Northern Netherlands. For further
About Dutch History at UCL, see https://www.ucl.ac.uk/dutch-history
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).
The New Rijksmuseum and the RKD: Presenting and Researching Seventeenth-Century Dutch Art and History
September 1-6, 2013, the AMSU (Amsterdam-Maastricht Summer University) in association with the RKD, the Rijksmuseum and CODART (International Council of Curators of Dutch and Flemish Art) will organise a summer course entitled: Presenting and Researching Seventeenth-Century Dutch Art and History.
The aim of this 6-day course is to give an in-depth introduction on the newly re-opened Rijksmuseum, the RKD, as well as on research facilities and tools.
A series of lectures, presentations, workshops and excursions with prominent scholars and museum professionals will provide a comprehensive overview of the latest developments in presenting Dutch art and history, research and exhibition projects, and 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 scholars and curators in The Netherlands.
Target group: The course is primarily intended for young museum curators, PhD candidates and professional art historians specialising in 17th-century Dutch art. There will be a maximum of 25 participants. The ability to communicate in English is required.
Application: Candidates will be selected onthe basis of their (1) detailed curriculum vitae and (2) letter of motivation. Application deadline: July 1, 2013.
Fee: Each course amounts to 650 euro, including lunches, excursions and local travel expenses in The Netherlands related to the program activities.
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