Call for Sessions/Papers/Articles/Essays
Call for Sessions
Sixteenth Century Society and Conference (SCSC)
The Sixteenth Century Society and Conference (SCSC) is now accepting proposals for individual papers and complete panels for its 2014 annual conference, to be held October 16-19, 2014, at the Astor Crowne Plaza Hotel in New Orleans, Louisiana.
As an affiliated society of SCSC, HNA is entitled to propose up to three sessions of four papers each. These can be linked or each devoted to a different topic. I am writing to solicit your proposals for session topics or for individual 20-minute papers.
If you would like to organize a session, propose a paper, or participate in a roundtable sponsored by HNA, please send a proposal of no more than 250 words and a CV to HNA board member, Angela Vanhaelen: firstname.lastname@example.org
no later than March 17, 2014.
As always, please be advised that all participants in the SCSC conference are responsible for their own costs associated with travel, lodging, and registration, and must become members of the Sixteenth Century Society. Participants in an HNA-sponsored panel should also be members of HNA.
If you prefer to submit a proposal directly to SCSC, instructions can be found on the society's website: www.sixteenthcentury.org/conference.
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, August 1, 2014. 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, 2014.
Alison M. Kettering, Editor-in-Chief
Mark Trowbridge, Associate Editor
Jeffrey Chipps Smith, Associate Editor
Lias. Journal of Early Modern Intellectual Culture and its Sources
The Sublime in Early Modern Theories of Art, Architecture and the Theatre
Guest editors S. Bussels & B. Van Oostveldt Leiden University Centre for the Arts in Society
For this special issue of Lias we welcome proposals that focus on the appropriation of the Longinian sublime in theories of art, architecture and theatrical performances in the period prior to Burke and Kant. In contrast with previous studies on the visual sublime in Early Modernity, our primary focus will not be put on the analysis of works of art, but on the studia humanitatis and the new understandings of how artists could move their audience maximally. Already in sixteenth and seventeenth-century Europe, the treatise Peri hupsous (On the Sublime) by pseudo-Longinus was a crucial text to form humanist ideas on the overpowering effect of visual media. Thus the special issue of Lias addresses the earliest theories on the overwhelming agency of these visual media since Antiquity.
This project is part of the ERC starting grant program ‘Elevated Minds. The Sublime in the Public Arts in Seventeenth-Century Paris and Amsterdam’ (http://hum.leiden.edu/lucas/elevatedminds).
Aims of the Special Issue
Since Nicolas Boileau’s canonical French translation of Peri hupsous in 1674, the sublime was for decades increasingly related to literature. However, prior to Boileau, Longinus’s treatise was appropriated in a broader field (Éva Madeleine Martin, ‘The “Prehistory” of the Sublime in Early Modern France. An Interdisciplinary Perspective’, in: The Sublime. From Antiquity to the Present, ed. T.M. Costelloe, Cambridge: Cambridge University Press 2012, pp. 77-101). For example, recent studies on the widely influential De pictura veterum by Franciscus Junius F.F. (Amsterdam 1637) have indicated the importance of Longinus for the Early Modern conceptualization of the breathtaking and awe-inspiring effect of painting (Judith Dundas, Sidney and Junius on Poetry and Painting. From the Margins to the Center, Newark: University of Delaware Press 2007, 227-33) and Philipp and Raina Fehl, ‘Introduction’, in Franciscus Junius, The Painting of the Ancients, ed. Keith Aldrich, Philipp and Raina Fehl, Berkeley: University of California Press 1992). However, we currently lack insight to what extent Longinus’s treatise was used before Junius, e.g. in Italian art theory(Hana Gründler, ‘Orrore, terrore, timore. Vasari und das Erhabene,’ in: Translations of the Sublime. The Early Modern Reception and Dissemination of Longinus’ Peri Hupsous in Rhetoric, the Visual Arts, Architecture and the Theatre, ed. Caroline van Eck, Stijn Bussels, Maarten Delbeke and Jürgen Pieters, Leiden: Brill 2012, pp. 83-116), or in the decades after Junius (with a few exceptions, e.g. Colette Nativel, ‘Le Traité du sublime et la pensée esthétique anglaise de Junius à Reynolds’, in: Acta conventus neo-latini hafniensis. Proceedings of the Eighth International Congress of Neo- Latin studies, ed. Rhoda Schnur, Binghamton-New York: Medieval & Renaissance Texts & Studies 1994, 721- 30 and Thijs Weststeijn, The Visible World: Samuel van Hoogstraten’s Art Theory and the Legitimation of Painting in the Dutch Golden Age, Amsterdam: Amsterdam University Press 2008, pp. 155-157).
Humanists, such as Lorenzo Giacomini, explicitly discussed Longinus’s use of the term phantasia (or mental image) to get a grasp on the overwhelming effect of art (e.g. Eugenio Refini, ‘Longinus and Poetic Imagination in Late Renaissance Literary Theory,' in: Translations of the Sublime, pp. 33-53). They learned from Longinus that poets and orators need to use phantasiai to make their subject present. Thus the poets and orators should become witnesses of the events themselves and can put these events into vivid words. In turn, the audience gets phantasiai thanks to the vividness of the sublime text or speech. However, we do not exclusively look at the Early Modern appropriation of Longinus’s phantasia: other elements from the Peri hupsous can be taken into regard as well, such as Longinus’s use of enthousiasmos (pointing at the state of total possession of the artist in the process of creation) or ekstasis and ekplexis (both defining the overwhelming effect on the audience), as well as the Longinian discussion on ‘greatness of mind’ and the juxtaposition of ‘flawless mediocrity’ versus ‘erratic genius’.
Since many other ancient authors also used these terms, it is not only necessary to assess to what extent humanists relied on the particular conceptualization of Longinus, but also how these humanists combined the ideas from the Peri hupsous with insights on overwhelming art from other ancient sources. Moreover, we have to clarify how humanists combined Longinus’s ideas on the sublime with neighboring concepts from Antiquity dealing with overwhelming art, such as Aristotle’s thaumaston, Plato’s mania, or Quintilian’s enargeia.
Lias is devoted to primary sources which concern the history of learning and education in the broadest sense: the artes liberales, the studia humanitatis, philosophy, etc. (http://poj.peeters- leuven.be/content.php?url=journal&journal_code=LIAS). Starting from this interest, the special issue on the sublime in humanist art theory also places the primary sources at the center of attention. We will not primarily deal with the analysis of works of art, but start from an unpublished source or a neglected printed source that sheds more light on humanist thought on overwhelming art and the influence of the Longinian sublime and/or related concepts. The source will be published (according to its length, entirely or in part) and thoroughly discussed.
We invite scholars to send an abstract of c. 300 words before May 1, 2014 to S.P.M.Bussels@hum.leidenuniv.nl. This abstract will be discussed by the guest editors and the board of Lias. Remarks and comments will be sent to the contributors in July 2014. The deadline for an advanced draft of the contribution will be December 15, 2014. This draft will be distributed among all other contributors and discussed during an interactive workshop in March 2015. A revised version, to be submitted by September 1, 2015, will be commented on by the guest editors, the board of Lias and the anonymous reviewers. The deadline for the final version will be February 1, 2016, after which the guest editors, the board and reviewers will give their final approval. The special issue of Lias will be published in Winter 2016.
Simiolus, Netherlands Quarterly for the History of Art, vol. 37 (2013-2014), no. 1:
The editors of Simiolus are pleased to announce that this year’s Bader Prize for the best original contribution on European art prior to 1950 written by an art historian younger than 35 at the time of submission went to Ruben Suykerbuyk (Ghent) for his article “Coxcie’s copies of old masters: an addition and an analysis.” It is the second volume of Simiolus to feature an article that was awarded the prize. We want to express our heartfelt thanks to Dr. Alfred and Isabel Bader for making this possible. We also wish to thank all the authors who sent us their manuscripts to compete for the award. We are looking forward to receiving the manuscripts for the next Bader Prize before June 15, 2014, and promise to publish the winning contribution in Simiolus 38. For further details please consult our website, 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: email@example.com. 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 firstname.lastname@example.org, (mention discount code 50175).
If you have questions, please do not hesitate to contact us at email@example.com.
Oud Holland, Quarterly for Dutch Art History is edited by the Netherlands Institute for Art History and published by Brill.
Netherlands Yearbook for History of Art Online (NKJO)
The Netherlands Yearbook for History of Art (NKJ) is now available online offering access to all 62 volumes dating back to 1947.
The online version gives this unique and high quality publication an extra dimension. NKJ, reflecting the variety and diversity of approaches to the study of Netherlandish art and culture is now even more accessible and easy to use.
The Netherlands Yearbook for History of Art Online is offered on a subscription basis which means subscribers have online access to all volumes. Each NKJ volume is dedicated to a particular theme. The latest volume (62) is dedicated to Meaning in Materials 1400-1800
For details see www.brill.com/nkjo or contact 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 2015-2016
We urge members to apply for the 2015-16 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 $2,000 may be requested for purposes such as travel to collections or research facilities, purchase of photographs or reproduction rights, or subvention of a publication. Preference will be given to projects nearing completion (such as books under contract). Winners will be notified in February 2015, 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, 2014, 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.
Rijksmuseum Fellowship Program
The Rijksmuseum, Amsterdam, announces a pre-doctoral fellowship program for outstanding doctoral candidates working on the art and the history of the Low Countries with a focus on object-based research. The program aims to train a new generation of inquisitive object-based specialists, furthering understanding of Netherlandish art and history for the future.
The focus of research should be related to the Rijksmuseum’s collections, which encompass paintings, sculpture, decorative arts, prints, drawings, photography and historical artefacts. Students and scholars will have access to the Rijksmuseum’s collections, library, conservation laboratories and curatorial expertise.
Applications will be accepted form those pursuing careers as art historians, curators, conservators, historians and scientists. Funding is available for one- or two-year fellowships, starting in the academic year 2014-2015. The closure date of applications is March 15, 2014.
Further information including the application form can be found at the website of the Rijksmuseum: www.rijksmuseum.nl/research-and-library.
The Rijksmuseum Fellowship Program is supported by the Andrew W. Mellon Foundation, the Migelien Gerritzen Fonds and the Dr. Anton Dreesmann Fonds.
PhD Candidate in Art History, University of Amsterdam
Amsterdam, September 1, 2014 – September 1, 2018
Application deadline: Mar 16, 2014
Salary indication: €2,083 to €2,664 gross per month
The Amsterdam Centre of Cultural Heritage and Identity (ACHI) of the
Faculty of Humanities is looking for a PhD candidate in Art History as
part of the project The Chinese Impact: Images and Ideas of China in the
Dutch Golden Age (NWO-Vidi). This project explores the mutual
perceptions that resulted from the cultural exchange between China and
the Low Countries (Northern and Southern Netherlands) in the seventeenth
During the first period of intensive contacts between China and Europe,
Dutch traders were the main importers of Chinese mass-produced goods.
Amsterdam and Antwerp were central nodes in the transfer of information,
making China better known to a wide European public through
publications, translations, and illustrations. This lively exchange
ensured that only in the Netherlands, Chinese-style ceramics became
available to all layers of society; moreover, the Low Countries were at
the forefront of the intellectual reaction to China, which resulted in
the first European translation of the writings of Confucius (in Dutch).
The research program The Chinese Impact includes two PhD projects, in
cultural history and art history, to explore written and visual images
The PhD candidate in Art History will study a selection of engravings,
paintings, and works of applied art. The research explores relevant
artistic themes, styles, and the history of collecting. The focus is on
artistic production in the Low Countries; in addition, the analysis may
also involve Chinese ceramics made for the European market.
- The applicant must have a completed MA degree in a relevant field,
preferably European or Asian art history, before the start date of the
- The applicant’s CV illustrates familiarity with the analysis of Early
Modern art, preferably complemented by demonstrable interest in the Low
Countries or China;
- The applicant has an excellent command of English in reading, writing,
and speaking. A good reading competence in Dutch is an additional plus.
For more information on the research project The Chinese Impact and the
selection procedure, please contact:
Thijs.Weststeijn@uva.nl, principal investigator
The selected PhD candidate will be appointed full-time (38 hours per
week) for a period of four years at the Faculty of Humanities at the
University of Amsterdam. The appointment is initially for a period of
one year; contingent on satisfactory performance it will be extended by
a maximum of three additional years leading to the completion of a PhD
thesis. The gross monthly salary (on a full-time basis) will range from
€2,083 during the first year to €2,664 during the fourth year, in
accordance with the Collective Employment Agreement of the Dutch
Applications should include:
- a detailed letter of intent stating your motivation for this position;
- a copy of your MA thesis or another relevant text;
- a full academic CV and a list of MA grades;
- two letters of recommendation.
Applicants must have completed all relevant coursework and examinations
for the MA by September 2014. If the list of scores is not yet complete,
please submit an overview of your scores at the time of application.
Please submit your application to solliciteren2014-FGW@uva.nl before
March 16, 2014.
Candidates will be interviewed in April 2014.
Reference / Quellennachweis:
JOB: PhD Candidate in Art History (University of Amsterdam). In:
H-ArtHist, Jan 27, 2014. <http://arthist.net/archive/6854>.
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 graduate students as well as curators in the United States or Canada. Graduate students should be researching dissertations that necessitate the examination of paintings, drawings or objects in the original; these candidates must be working towards a PhD at an American or Canadian University. Curators who are planning an exhibition that requires firsthand study of objects or collections in the Netherlands or Belgium and who do not have funding from their institutions are invited to apply. The stipend is $15,000. To learn more about our organization, please visit http://americanfriendsofthemauritshuis.org.
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, 2014 to firstname.lastname@example.org
Dutch-language Course in June 2014 at Columbia University for Graduate Students (tuition-free)
Applications are invited for a 3-week-long summer course, consisting of a 2-week class in modern Dutch for reading knowledge, and a 1-week workshop in early modern Dutch/paleography. This summer course is free-of-charge; funding has been provided by the Nederlandse Taalunie through the Queen Wilhelmina Professorship at Columbia University.
The course has two distinct sections, and students may apply to either or both. 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.
Students who have participated in the Columbia University Dutch summer course before, may apply again.
APPLICATIONS FOR ALL SESSIONS ARE DUE MARCH 1, 2014 - one week of 17th-century Dutch (morning sessions focus on reading strategies of printed text while afternoon sessions focus on early modern paleography [(Week I (6/9-6/12)] - two weeks of Modern Dutch for Reading Knowledge [(Week II & III (6/16 - 6/19 & 6/23 - 6/26)]
Description of the course and requirements for admission
Week I: 17th-century Dutch texts/paleography workshop The workshop will cover handwriting and reading strategies of 17th-century printed texts.
Open to all graduate students with the equivalent of 2 semesters or more of Dutch at the university level or the equivalent level through self-study. Interested students should submit a letter of application explaining their reason for registration. 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 Wijnie de Groot to arrange an evaluation (email@example.com).
Week II & III: 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 or the equivalent level through self-study; 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. Students who are unsure if their level of Dutch is satisfactory should contact Wijnie de Groot to arrange an evaluation (firstname.lastname@example.org).
NOTE: This summer course will include a fourth week in Amsterdam in 2015. The Amsterdam week will emphasize archival research. Students who register for sessions in the summer of 2014 will be eligible to apply for the 2015 course in Amsterdam.
Applications, along with supporting documents, should be emailed to Wijnie de Groot at email@example.com. They are due March 1, 2014. Inquiries should also be directed to Ms. de Groot at that email.
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
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: email@example.com).
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