Conferences, Journals, Anthologies

Conferences

Call for Papers

International Symposium Paul Coremans

A Belgian Monuments Man and His Impact on the Preservation of Cultural Heritage Worldwide

Royal Institute of Cultural Heritage (KIK-IRPA), Brussels, June 15-17, 2015.

Four major themes will be treated:

Theme I. Paul Coremans and the world of museums
Theme II. Paul Coremans and the interdisciplinary approach to the study of works of art
Theme III. Paul Coremans and the protection of works of art in times of war
Theme IV. Paul Coremans and de protection of world heritage

Deadline: December 20, 2014.

http://org.kikirpa.be/coremans2015/index.php?lang=eng


Journals

Netherlandish Art in its Global Context / De mondiale context van Nederlandse kunst

Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek, Vol. 66

Netherlandish art testifies in various ways to the increased interconnectivity of the Early Modern world. The Low Countries were an essential node during “First Globalization”: Antwerp and Amsterdam became global capitals while the “world’s first multinational”, the Dutch East India Company, heralded the age of classical capitalism. Fortuitous factors, including successful mercantile logistics, the geographical reach of the Jesuit mission, and the thriving publishing and translation industry made the area a crucible of cultural exchange. Everyday lives changed as foreign luxuries, and local copies, became widely available. Eventually, Dutch imitations of Chinese porcelain found their way to colonists in Surinam. Not only were these objects implicit or explicit repositories of knowledge, carriers of ideas unto which new expectations were projected; the Netherlands also engendered a worldwide public for prints and a surplus of migrant artists. The Low Countries, as a contested fringe area of the Habsburg Empire marked by internal fault lines, demonstrated a unique intellectual flexibility and creative productivity in the first period of intensive artistic exchange between Europe and the rest of the world.

Outside rare products such as Joost van den Vondel’s dramatization of the fall of the Ming dynasty, literary reflections on this new interconnectivity were remarkably scarce. The visual arts are by comparison eloquent testimony to the global dimension of Netherlandish commerce and culture: from paintings depicting exotica to new iconography directed at global proselytization. Some painters seem to have realized this. When Samuel van Hoogstraten, in Introduction to the Academy of Painting (1678), sought to defend the Netherlandish school in comparison to Italy and the ancients, he highlighted its domain as the “entire visible world” and extended his analysis to East Asia and the Americas. He praised Rembrandt’s The Preaching of Saint John (Berlin, Gemäldegalerie) for the international audience it depicted, including an American Indian and a Japanese samurai.

Recent exhibitions have addressed the “Asian” dimension of Netherlandish art. The Rijksmuseum explored the meeting between East and West in De Nederlandse ontmoeting met Azie (2002). The Getty Museum’s Looking East: Rubens’ s Encounter with Asia (2013), and Asia in Amsterdam (2015, Rijksmuseum / Peabody Essex Museum) focus on the way the East was perceived in Western eyes. The Victoria & Albert Museum examined the question of style with Baroque 1620–1800: Style in the Age of Magnificence (2009).

Scholars are increasingly embracing a worldwide approach and individual case studies have addressed Netherlandish art. Two of the first collective efforts appeared in 2014. Mediating Netherlandish Art and Material Culture in Asia (Kaufmann & North) focuses on the impact of Dutch art, from Persia to Indonesia; Chinese and Japanese Porcelains for the Dutch Golden Age (Van Campen & Eliëns) highlights the unique role of Chinese and Japanese ceramics in Dutch cultural history. Yet an integrated analysis of Netherlandish art from the perspective of global history has not yet been undertaken. Scholars hesitate to re-introduce universalist terms such as “Baroque” or to project back unto the Early Modern situation recent notions of cultural hybridity, imperialism, consumer capitalism, and globalisation.

The next volume of the NKJ intends to explore further the global dimension of Netherlandish art. Contributions are invited which do more than stretch geographical boundaries. In many cases, the trajectory of images of and from the foreign involved “cross-mediality”: being, for instance, first published in print before returning in the applied arts and architecture. The point of origin demands interest, but also the reappropriation in Dutch or Flemish contexts. The editors welcome contributions on the various arts and crafts—including paintings, sculpture, architecture, prints, ceramics, furniture, maps, and models—and their interrelations.

The editors expect not only to bring new case-studies into the discussion but also to contribute to conceptual clarity and directions for future research. What is more, they hope that the comparative approach suggested by global history will put to the test accepted terms of periodization in art history such as “Early Modern”. Themes that may play a role are, amongst others, global versus local; the agency of material culture; imagology; cultural hybridity; network analysis; and the relinquishment of Eurocentric approaches. In addition, contributions may address the growing role of countries outside the West in collecting and studying Netherlandish art in the twenty-first century.

The NKJ is dedicated to a particular theme each year and publishes articles that employ a diversity of approaches to the study of Netherlandish art. For more information, see http://www.brill.com/news/brill-acquires-prestigious-netherlands-yearbook-history-art-nkj

Contributions to the NKJ (in Dutch, English, German or French) are limited to a maximum of 7,500 words, excluding the notes.

The deadline for submission of proposals is 1 January 2015. Selection of proposals will take place in January and February 2015. The deadline for submission of the full articles for consideration and editorial comment is 15 May 2015. Final decisions on the acceptance of any paper will be made by the editorial board following receipt of the complete text.

Proposals for papers, in the form of a 300-word abstract and a short CV, should be sent to: Eric Jorink (eric.jorink@huygens.knaw.nl) Frits Scholten (f.scholten@rijksmuseum.nl), Thijs Weststeijn (thijs.weststeijn@uva.nl)

Deadline: 1 January 2015; Notification: February 2015; Deadline first draft: 15 May 2015.

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 marketing@brill.com


Journal of Historians of Netherlandish Art (JHNA)

The Journal of Historians of Netherlandish Art (www.jhna.org) announces its next submission deadline, March 1, 2015. Please consult the journal's Submission Guidelines.

JHNA is an open-access, peer-reviewed journal published twice per year. Articles focus on art produced in the Netherlands (north and south) during the early modern period (c. 1400-c.1750), and in other countries and later periods as they relate to this earlier art. This includes studies of painting, sculpture, graphic arts, tapestry, architecture, and decoration, from the perspectives of art history, art conservation, museum studies, historiography, technical studies, and collecting history. Book and exhibition reviews, however, will continue to be published in the HNA Newsletter.

The deadline for submission of articles is March 1, 2015.

Alison M. Kettering, Editor-in-Chief
Mark Trowbridge, Associate Editor
Dagmar Eichberger, Associate Editor


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: editors@dutchcrossing.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

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 brill@turpin-distribution.com, (mention discount code 50175).

If you have questions, please do not hesitate to contact us at marketing@brill.nl.

Oud Holland, Quarterly for Dutch Art History is edited by the Netherlands Institute for Art History and published by Brill.


Anthologies

Playthings in Early Modernity: Party Games, Word Games, Mind Games

Contributions are sought for an interdisciplinary collection of essays to be edited by Allison Levy and published by Ashgate Publishing Co. in the new book series, Cultures of Play, 1300-1700 (see http://www.ashgate.com/default.aspx?page=5166; series editor Bret Rothstein). Dedicated to early modern playfulness, this series serves two purposes. First, it recounts the history of wit, humor, and games, from jokes and sermons, for instance, to backgammon and blind man’s buff. Second, in addressing its topic – ludic culture – broadly, Cultures of Play also provides a forum for reconceptualizing the play elements of early modern economic, political, religious, and social life.
Within this framework, Playthings in Early Modernity: Party Games, Word Games, Mind Games emphasizes the rules of the game(s) as well as the breaking of those rules: playmates and game changers, teammates and tricksters, matchmakers and deal breakers, gamblers and grifters, scripts and ventriloquism, charades and masquerades, game pieces and pawns. Thus, a ‘plaything’ is understood as both an object and a person, and play, in early modern Europe (1300-1700), is treated not merely as a pastime, a leisurely pursuit, but also as a pivotal part of daily life, a strategic psychosocial endeavor: Why do we play games – with and upon each other as well as ourselves? Who are the winners, and who are the losers? Desirable essays will also consider the spaces of play: from the stage to the street, from the pulpit to the piazza, from the bedroom to the brothel: What happens when players go ‘out of bounds,’ or when games go ‘too far’? We seek new and innovative scholarship at the nexus of material culture/the study of objects, performance studies, and game theory. We welcome proposals from a wide range of disciplines, including gender studies, childhood studies, history, languages and literature, theater history, religious studies, the history and philosophy of science, philosophy, psychology, and the history of art and visual culture.

Playthings in Early Modernity: Party Games, Word Games, Mind Games will be an illustrated volume, with individual contributors responsible for any permission and/or art acquisition fees. Final essays, of approximately 8,000 words (incl. notes), and all accompanying b&w illustrations/permissions will be due no later than January 15, 2015. For consideration, please send an abstract (max. 500 words), a preliminary list of illustrations (if applicable), and a CV to Allison Levy (allisonlevy2@gmail.com or playthingsvolume@gmail.com) by September 15, 2014. Notifications will be emailed by the end of September.

 

Call for Research in Progress

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) f.scholten@rijksmuseum.nl

In Bamberg: Eveliina Juntunen (Universität Bamberg) eveliina.juntunen@uni-bamberg.de

In Wroclaw: Aleksandra Lipinska (Uniwersytet Wroclawski) aleksandra.lipinska@o2.pl

 

Positions, Fellowships, Prizes

Rubenianum Fellowship 2015-2016

RUBENIANUM.BE / Research Institute for Flemish Art of the 16th and 17th Centuries

We are pleased to announce the availability of an annual one year fellowship for outstanding doctoral candidates or postdoctoral researchers in Art History. Through the generous support of the Belgian American Educational Foundation (BAEF) and the Rubenianum Fund (managed by the King Baudouin Foundation), the Rubenianum Fellowship Programme formalizes Antwerp’s tradition of transatlantic outreach and exchange.

Fellowship

The Rubenianum promotes and facilitates the study of the work of Peter Paul Rubens in particular and that of his Antwerp predecessors, contemporaries and followers in general. Research projects should relate to these core strenghts of the institute and can focus on 16th- and 17th-century paintings, prints and drawings, sculpture and decorative arts and their relation to culture and society. Students whose dissertations will benefit maximally from further collection, library, and archival holdings in Antwerp and Belgium are strongly encouraged to apply. Dutch language skills increase eligibility for the programme.

Fellows will receive a stipend of $26,000. If the fellow chooses to remain less than the full 12 months, the stipend will be prorated accordingly. The fellowship period must be at least 6 months. In addition to the stipend, the BAEF will provide health insurance.
The Rubenianum will provide office space and access to its specialized art history library and photographic documentation. The Fellow will work closely with Rubenianum staff and will be encouraged to engage in current projects and in the research culture of the institute. Professors, librarians, curators, and other visiting scholars will be available for consultation. She or he will work on site with curatorial staff of the Rubens House Museum and the Antwerp Royal Museum of Fine Arts. The Fellow will attend conferences, symposia, and lectures at the Rubenianum and introductions will be provided to other research institutes in Antwerp and beyond. The Fellow is expected to take part in interuniversity seminars in Leuven (KU Leuven) and Ghent (U Gent) and will give a public Rubenianum Lecture in the historic Kolveniershof.

Application

Applicants must be citizens or permanent residents of the United States. Applicants must either be registered in a graduate programme towards a Ph.D. or equivalent degree in the United States, or hold a Ph.D. in Art History. Preference is given to applicants under the age of 30. The Fellow must reside in Belgium during the tenure of his or her fellowship.

Application forms can be downloaded from the BAEF website at http://www.baef.us. In addition to a completed application form, applicants must furnish: 1. Undergraduate and graduate transcripts; 2. A complete curriculum vitae; 3. A three page research proposal, outlining how your study will take advantage of the resources available; 4. A copy of a published paper or a recent writing sample; 5. Three letters of recommendation
Completed applications for the 2014-2015 fellowship must be submitted as electronic documents in pdf format attached to an email sent not later than October 31, 2014 to Prof. Dr. Emile Boulpaep, President of the BAEF.

Procedure

Applications will be reviewed by the BAEF Selection Comittee. The selected applicant will be notified by May 1, 2015. The fellow could start at the Rubenianum any time from September until end of December 2015.
Contact

For additional information contact Bert Watteeuw at the Rubenianum, rubenianum@stad.antwerpen.be, +32 3 201 15 77


Metropolitan Museum of Art: The Slifka Foundation Interdisciplinary Fellowship

Awarded to a completed master's- or PhD-level candidate for training in an interdisciplinary approach, joining art historical research with technical investigation of the Museum's Northern Renaissance paintings. Note: The recipient of this fellowship will conduct research with the curator for the collection catalogue of early Netherlandish paintings.

Applications are due November 1, 2014.

Please go to the following website to learn how to apply:
http://www.metmuseum.org/research/internships-and-fellowships/fellowships/art-history-fellowships


CRRS -  RSA - KRESS FELLOWSHIP (for Art Historians)

Application deadline: 1 December 2014

Apply: https://rsa.site-ym.com/?Grants

The RSA–Kress-Centre for Reformation and Renaissance Studies (CRRS) Grant for Art History.

This fellowship of $3,000 will support a one-month residence of full-time Art History research in the CRRS collections at Victoria College in the University of Toronto and at other research libraries in the University of Toronto system ($4,000 for fellows traveling from outside North America). All fellows are invited to participate in the activities of the CRRS, thereby sharing their knowledge and research with other scholars and students, all disciplines.

The Centre for Reformation and Renaissance Studies at Victoria College in the University of Toronto is a research centre and library, with a collection of more than four thousand sixteenth-and seventeenth-century volumes on the classics, religion, philosophy, language, and literature. 
The Centre’s collection of early editions of Erasmus in one of the strongest in the world.  The
library also holds a large non-circulating collection of important modern publications in most
disciplines of early modern studies.

The CRRS is a quiet and comfortable working space, overlooking the beautiful quad of Victoria
College in the University of Toronto, an ideal venue for research and writing. There are
approximately eighty full-time faculty at the University of Toronto who study aspects of early
modern culture in a wide variety of disciplines; the CRRS encourages contact with faculty and
graduate students through a yearly series of workshops, distinguished visiting speakers, and
international conferences. 

The Department of the History of Art at the University of Toronto is especially rich in early
modern faculty with five full-time professors actively researching in related areas of art and
architectural history.  CRRS fellows are granted access to the broader University of Toronto
library system, which ranks third in North America.  The art historical collections of the
University of Toronto library system are appropriately extensive.

Location: Centre for Reformation and Renaissance Studies (CRRS), Victoria College, The University of Toronto.

Length: 1 month.

Stipend: $3,000 (for a researcher traveling from within North America) or $4,000 (for a researcher traveling from outside of North America).

Eligibility: Younger and Senior Scholars (PhD in hand at time of application)
•Please note that all applicants must be members of the Renaissance Society of America for the required number of years. Information about the membership length requirements.
•Applicants may apply for only one RSA Residential Grant per year and will be automatically considered for any Non-Residential Grant for which they qualify. Full list of RSA grants.

Link to Centre: http://crrs.ca/

Link to CRRS Rare Books: http://crrs.ca/rare_books/

Link to the Art (History) Department of the University of Toronto: http://www.art.utoronto.ca/

Link to the University of Toronto Libraries: http://onesearch.library.utoronto.ca/

Application components
•Project description
•Curriculum vitae
•Budget
•Collection description

General guidelines for residential grants
1.The research proposal must be relevant to specific library collections and should indicate primary collection resources that are relevant to it.
2.The fellowship must be used for full-time onsite research during the period of residency at the specific library, working on its collection.
3.The residency must begin on or after 1 July of the year awarded and end on or before 30 June of the following year, and may not be subdivided into more than one continuous period of residency at the library.

For further information contact Natalie Deltjen at crrs.vic@utoronto.ca


CRRS RSA  FELLOWSHIP

Application deadline: 1 December 2014

Apply https://rsa.site-ym.com/?Grants

The RSA-Centre for Reformation and Renaissance Studies (CRRS) Grant.

This fellowship of $3,000 will support a one-month residence of full-time research in the CRRS collections at Victoria College in the University of Toronto and at other research libraries in the University of Toronto system ($4,000 for fellows traveling from outside North America). All fellows are invited to participate in the activities of the CRRS, thereby sharing their knowledge and research with other scholars and students, all disciplines. Scholars of all disciplines in early modern studies are welcome.

The Centre for Reformation and Renaissance Studies at Victoria College in the University of Toronto is a research centre and library, with a collection of more than four thousand sixteenth- and seventeenth-century volumes on the classics, religion, philosophy, language, and literature.  The Centre’s collection of early editions of Erasmus in one of the strongest in the world. The library also holds a large non-circulating collection of important modern publications in most areas of early modern studies.

The CRRS is a quiet and comfortable working space, overlooking the beautiful quad of Victoria college in the University of Toronto, an ideal venue for research and writing. There are approximately eighty full-time faculty at the University of Toronto who study aspects of early modern culture in a wide variety of disciplines; the CRRS encourages contact with professors and graduate students through a yearly series of workshops, distinguished visiting speakers, and international conferences. CRRS fellows are granted access to the broader University of Toronto library system, which ranks third in North America.

Eligibility: Younger and Senior Scholars (PhD in hand at time of application)
•Please note that all applicants must be members of the Renaissance Society of America for the required number of years. Information about the membership length requirements.
•Applicants may apply for only one RSA Residential Grant per year and will be automatically considered for any Non-Residential Grant for which they qualify. Full list of RSA grants.

Location: Centre for Reformation and Renaissance Studies (CRRS), Victoria College, the University of Toronto.

Length: 1 month.

Stipend: $3,000 (for a researcher traveling from within North America) or $4,000 (for a researcher traveling from outside of North America).

Discipline: All disciplines.

Career Level: Open to scholars with a PhD (Younger Scholar or Senior Scholar). Read more about RSA’s career level definitions.

Eligibility

Application components
•Project description
•Curriculum vitae
•Budget
•Collection description

General guidelines for residential grants
1.The research proposal must be relevant to specific library collections and should indicate primary collection resources that are relevant to it.
2.The fellowship must be used for full-time onsite research during the period of residency at the specific library, working on its collection.
3.The residency must begin on or after 1 July of the year awarded and end on or before 30 June of the following year, and may not be subdivided into more than one continuous period of residency at the library.

Link to the CRRS: http://crrs.ca/

Link to CRRS Rare Books: http://crrs.ca/rare_books/

Link to University of Toronto Libraries: http://onesearch.library.utoronto.ca/

For further information contact Natalie Deltjen at crrs.vic@utoronto.ca


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: paul.crenshaw@providence.edu; Postal address: Providence College, 1 Cummingham Square, Providence RI 02918-0001.

 

Courses

Bruges - Ghent

Extended deadline for applications to the Summer Course for the Study of the Arts in Flanders - The Age of van Eyck in Context (June 21 - July 1, 2015)

The deadline for applications to the Summer Course for the study of the Arts in Flanders has been extended through November 17, 2014. Through that date MA- or PhD students may apply for this intensive 10-day course and have the possibility to apply for several grants. By extending the deadline the organisation of the Summer Course would like to give more students the possibility to apply.

The summer course strives to bring to Flanders, annually, a select group of 18 national and international, highly qualified young researchers. They will be presented with an intensive 10-day program of lectures, discussions, and visits related to the specific course theme within Flemish art. This theme will vary annually and will focus each year on a different art-historical period. The aim is to provide the participants with a clear insight into the Flemish art collections from the period at hand, as well as into the available and most suited research methods, the state of the research and the research needs. We encourage active participation from the participants, and therefore the discussion following each lecture will form an essential part of the program.

The first edition of the summer course titled The Age of van Eyck in context will take place from June 21 through July 1 2015. Its content is coordinated by the Groeninge Museum and the Flemish Research Centre for the arts in the Burgundian Netherlands. The programme will take place in Bruges, Ghent and Brussels. The language of the summer course will be English.

Participation fee and grants
Thanks to the generous support of the Flemish Government the participation fee of the Summer Course is fixed at €900 per person. The fee includes accommodation, most meals, all transportation within the programme. To facilitate students with limited financial means the organisation of the Summer Course for the Study of the Arts in Flanders together with the Flemish Government has made available two grants of €450 each. These grants will be awarded (preferably) to one European and one non-European applicant of the Summer Course. The recipients of the grant will pay a reduced participation fee of €450 instead of the regular fee.

Thanks to the generous support of the Samuel H. Kress Foundation's History of Art Grants Program two US students and citizens are offered a grant that will fully cover the programme fee and round trip flights between Belgium and the US. In addition to a resume and letter of motivation required for general applications, candidates for the grants are asked to send a one page statement explaining their financial need and a letter of recommendation from a faculty member. Applicants will be informed of the outcome of the selection process in early December.

Application
Participants have a master's degree or are PhD-student, are specialised in 15th century art form the Burgundian Netherlands, and are at the start of their professional career. Apply now through November 17, 2014. Mail your curriculum vitae, letter of motivation, and (if applicable) your application form for a grant to: summer.course@brugge.be

FOR MORE INFORMATION
theageofvaneyck-summercourse.be
or follow us on Facebook https://www.facebook.com/pages/Summer-Course-for-the-Study-of-the-Arts-in-Flanders/1406792636262109?ref=hl

The Summer course for the study of the arts in Flanders is a joint initiative of the Flemish Art Collection, the Royal Museum of Fine Arts Antwerp, the Groeninge Museum Bruges, the University of Ghent, the Catholic University of Louvain, the Rubenianum, the Flemish Research Centre for the Arts in the Burgundian Netherlands and the Royal Institute for Cultural Heritage (KIK/IRPA) (contributing partner).

Programme*:
Sunday June 21st, Bruges
Opening Reception, Groeningemuseum in Bruges
Welcome by Dr. Paul Huvenne
Overnight stay in Bruges

Monday June 22nd, Bruges
Morning lectures and confrontation with the artworks by Dr. Susan Frances Jones and Till-Holger Borchert
Lunch at the Groeningemuseum
Afternoon confrontation with the artworks of the Groeningemuseum collection followed by a discussion
Dinner
Evening city walk by Elien Vernackt
Overnight stay in Bruges

Tuesday June 23rd, Bruges
Morning visit to City Archives with an introduction by Dr. Noël Geirnaert
Lecture and discussion concerning archival research on Jan van Eyck by Anne-Maria van Egmond and Dr. Hugo van der Velden
Lunch at the Groeningemuseum
Lecture by Dr. Peter Stabel
Visits and elaboration on Burgundian locations in Bruges
Dinner
Evening lecture by Dr. Marc Boone
Overnight stay in Bruges

Wednesday June 24th, Bruges
Visit to churches in Bruges
Lunch in Bruges (at your own expense)
Visit to the Saint John’s Hospital by Dr. Manfred Sellink
Late afternoon excursion to Caloen Collection, Castle of Loppem with dinner
Overnight stay in Bruges

Thursday June 25th, Lille, Tournai and Ghent
Visit to the Lille Archives with elaboration by Dr. Federica Veratelli
Lunch in Lille (at your own expense)
Afternoon visit to the Palais des Beaux-Arts by Dr. Federica Veratelli
Visit to the city of Tournai
Transportation to Ghent
Dinner in Ghent (at your own expense)
Overnight stay in Ghent

Friday June 26th, Ghent
Visit to the Museum of Fine Arts, Ghent with lecture and discussion concerning the Ghent Altarpiece by Dr. Maximiliaan Martens, Till-Holger Borchert, and Dr. Griet Steyaert
Lunch at the Museum
Elaboration on the restoration project of the Ghent Altarpiece
Late afternoon visit to the Caemersklooster exhibition on the Ghent Altarpiece by Dr. Maximiliaan Martens
Dinner in Ghent (at your own expense)
Overnight stay in Ghent

Saturday June 27th, excursion to churches
Visit to Saint Catherine church, Hoogstraten, Saint John’s church, Mechelen, and Saint Martin’s church, Halle
Lunch on the bus
Dinner in Ghent (at your own expense)
Overnight stay in Ghent

Sunday June 28th, Ghent and Brussels
Morning city walk by Dr. Walter Prevenier
Lunch in Ghent (at your own expense)
Afternoon visits to Saint Bavo Cathedral’s Vijd chapel
Train to Brussels
Dinner in Brussels (at your own expense)
Overnight stay in Brussels

Monday June 29th, Brussels
Visit to the Royal Library of Brussels with discussion by Dr. Lieve Watteeuw
Lunch at the Library
Visit to the Archives with elaboration by Dr. Natasja Peeters
Evening city walk with Dr. Bram Vannieuwenhuyze
Dinner in Brussels (at your own expense)
Overnight stay in Brussels

Tuesday June 30th, Brussels
Visit to the Brussels City Hall by Vincent Heymans
Lunch in Brussels (at your own expense)
In-depth visit to the collections at Royal Museum of Fine Arts
Dinner in Brussels (at your own expense)
Overnight stay in Brussels

Wednesday July 1st, Brussels
Visit to the Royal Insitute for Cultural Heritage, Brussels with elaboration by Dr. Bart Fransen and Christina Ceulemans
Lunch at the Institute
Keynote Lecture by Dr. Jan Dumolyn
Afternoon reception and closing of the programme at the Institute.

Coordinating Staff:
Matthias Depoorter, Assistant Flemish Art Collection and Project coordinator Summer Course for the Study of the Arts in Flanders
Vanessa Paumen, Coordinator Flemish research centre for the arts in the Burgundian Netherlands, Groeningemuseum, Bruges
Anne van Oosterwijk, Assistant curator 15th and 16th c. paintings, Groeningemuseum, Bruges

Partners:
Musea Brugge
Groeningemuseum
Flemish research centre for the arts in the Burgundian Netherlands
Royal Museum of Fine Arts Antwerp
Rubenianum
Flemish Art Collection
Ghent University
Catholic University of Louvain
Contributing Partner:
KIK/IRPA

Lectures, Discussions, Introductions, guided walks, provided by**:

Dr. Marc Boone (Professor, History, University of Ghent)
Till-Holger Borchert (Chief curator Groeningemuseum, Bruges and Advisory Member of Scientific Committee, Restoration Project Ghent Altarpiece)
Dr. Véronique Bücken (Royal Museum of Fine Arts of Belgium, Brussels) (Not yet confirmed to date)
Christina Ceulemans (Acting General Director, Royal Institute for
Cultural Heritage (KIK/IRPA)
Ludo Collin (Canon Saint Bavo Cathedral, Ghent)
Bart Devolder (Painting Conservator/ Onsite Coordinator, Restoration Project Ghent
Altarpiece, Royal Institute for Cultural Heritage (KIK/IRPA))
Hélène Dubois (Painting Conservator / Research Coordinator, Restoration
Project Ghent Altarpiece, Royal Institute for Cultural Heritage (KIK/IRPA))
Prof. Dr. Jan Dumolyn (Professor, Medieval History, University of Ghent)
Dr. Bart Fransen (Royal Institute for Cultural Heritage (KIK/IRPA), Centre
for the Study of the Flemish Primitives)
Dr. Noël Geirnaert (Chief archivist, City of Bruges)
Dr. Vincent Heymans (La Cellule Patrimoine Historique, Brussels)
Dr. Paul Huvenne (Former general director Royal Museum of Fine Arts, Antwerp)
Dr. Susan Frances Jones (Art historian on the VERONA project, Royal Institute for Cultural Heritage (KIK/IRPA))
Dr. Ann Kelders (Royal Library of Belgium, Brussels) (Not yet confirmed to date)
Prof. Dr. Maximilliaan Martens (Professor, History of Art, University of Ghent)
Dr. Natasja Peeters (Head of exhibitions, publications and fine arts collection, Royal Museum of the Armed Forces and of Military History, Brussels)
Dr. Walter Prevenier (Emeritus Professor University of Ghent)
Prof. Dr. Manfred Sellink (Director, Musea Brugge and Chief Curator Memling Museum, Bruges, Professor, University of Ghent)
Prof. Dr. Peter Stabel (Professor of Medieval History, University of Antwerp, Centre for Urban History)
Dr. Griet Steyaert (Painting Conservator, Restoration, Project Ghent Altarpiece, Royal Institute for Cultural Heritage (KIK/IRPA) and restorer old master paintings, Groeningemuseum, Bruges)
Anne-Maria van Egmond (University of Amsterdam)
Prof. Dr. Hugo van der Velden (Professor, History of Medieval Art, University of Amsterdam)
Dr. Bram Vannieuwenhuyze (Caldenberga - KU Leuven)
Dr. Federica Veratelli (University of Valenciennes and Hainaut-Cambrésis)
Elien Vernackt (Project Assistant Bruggemuseum, Bruges, Coordinator MAGIS Brugge Project)
Prof. Dr. Lieve Watteeuw (Art History, University of Leuven, Conservator of Manuscripts, VUB)

*Subject to change.
**Although we do not intend to make changes to the line-up of speakers, please be aware that changes can be made due to unforeseen circumstances.


London

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.
http://www.courtauld.ac.uk/degreeprogrammes/postgraduate/ma/specialoptions.shtml
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: pgadmissions@courtauld.ac.uk


Nijmegen

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: sid@dsz.ru.nl).


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           
r.woodfield@bham.ac.uk                                             
http://arthistoriography.wordpress.com 

Erika Gaffney, Publishing Manager
Ashgate Publishing Company
101 Cherry Styreet, Suite 420
Burlington VT 05401-4405
egaffney@ashgate.com

               


                                                                                      
                                                                                      

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