Conferences, Journals, Fellowships
Call for Papers
RSA Boston 2016
Style and Decorum in the Arts of the Burgundian Netherlands, ca. 1430-1550
HNA-Sponsored Session at RSA Boston, 31 March-2 April 2016
Till-Holger Borchert, Groeningemuseum, Bruges (firstname.lastname@example.org)
Koenraad Jonckheere, University of Ghent (email@example.com)
While style and decorum are both terms that are often employed to explain artistic phenomena, both have been insufficiently studied as inventive concepts. Examinations of style are mostly associated with Stilkritik and connoisseurship, whereas studies on decorum, more often concerned with Italian art, often limit themselves to theoretical or contextual analysis. Although in-depth studies or even concise definitions of either concept are missing in modern scholarship, decorum and style were qualities that 15th and 16th century humanists and artists were well acquainted with. Francesco de Hollanda, for example, considered decorum alongside invention and proportion the main constituents of painting. Due to the intrinsic relation of both terms to the rhetorical canon, problems of decorum in art production as well as those questions regarding style that transcend the connoisseurial level tend to be restricted to direct links with textual evidence. But as immanent aspects of meaning and function, both style and decorum need to be discussed in a broader sense that takes the visual evidence seriously. This session seeks proposals that address issues of decorum in their relation to the study of style and/or iconography, iconology, or patronage in any and all artistic genres and media in Netherlandish art of the 15th and 16th centuries.
This session is sponsored by Historians of Netherlandish Art (www.hnanews.org). Preference will be given to proposals from HNA members. PhD candidates may propose papers, but please ask your supervisor to send a letter of support. Presenters must be members of RSA and are responsible for their own costs. For RSA guidelines on paper proposals and other information about the conference, please consult the RSA website: http://www.rsa.org/?page=2016Boston#panel
Please send an abstract (maximum 150 words) and a c.v. by email to both panel chairs by May 31, 2015.
Late Rembrandt in Review and in Context
HNA-sponsored session at RSA Boston, March 31-April 2, 2016
Chairs: Paul Crenshaw, Providence College (firstname.lastname@example.org)
Michael Zell, Boston University (email@example.com)
The major exhibition at the National Gallery London and the Rijksmuseum last year and the completion of the final volume of the Rembrandt Corpus present a good opportunity to reflect on scholarship regarding the later years of Rembrandt’s career. Such major endeavors serve as more than mere summations of the current state of inquiry; they often stimulate new ideas and new research. This session solicits papers that add new contributions and present new directions in the study of Rembrandt’s later career by further focused study, by contextualization in larger currents of Amsterdam, Dutch, European and intercontinental interactions, and by the employment of diverse methodological approaches.
This session is sponsored by the Historians of Netherlandish Art (www.hnanews.org). PhD candidates may propose papers, but please ask your supervisor to send a letter of support. Presenters must be members of RSA, and preference will be given to proposals from people who are also members of the HNA. For RSA guidelines on paper proposals and further information about the conference, please consult the RSA website:
Please send an abstract (maximum 150 words) and cv to both chairs by June 1, 2015.
Call for Workshop Proposals
Methodology between Theory and Practice - On Historical and Current Approaches to Netherlandish Art and Art History
Bonn/Cologne, October 2-4, 2015.
The Arbeitskreis Niederländische Kunst- und Kulturgeschichte (ANKK) is planning a three-day international conference in 2015 (cf. http://arthist.net/archive/7721).
The Historians of Netherlandish Art will sponsor a workshop at this conference and invites submissions on a topic related to the conference theme (see below). The 2-hour workshop will offer participants an interactive forum for discussion. The workshop chair will give a short introduction of 10-15 minutes and moderate the proceedings. Each chair is expected to put together and circulate in advance texts and images that will provide participants with a basis for active discussion. It is possible to invite two to three colleagues to present short statements related to the topic (maximum: 10 minutes).
The workshop chair must be a member of HNA.
SUBMISSIONS: Please submit your proposals (maximum of 250 words) to: FionaHealy@aol.com and Gero.Seelig@gmail.com
DEADLINE: June 5, 2015. Applicants will be notified by June 30, 2015.
ABSTRACT: max. 250 words
CONFERENCE LANGUAGES: English and German.
Personal information should include your name, contact details, home institution and professional affiliation (museum, academics, independent scholar).
PLEASE NOTE: All session and workshop chairs as well as the speakers in each session are required to become members of the ANKK in 2015.
CONFERENCE: Methodology between Theory and Practice - On Historical and Current Approaches to Netherlandish Art and Art History
(Bonn/Cologne, October 2-4, 2015)
Art-historical scholarship today is characterized by a diversity of methods, as is research on Netherlandish art. The various methodological "turns" of the past years and the increasing involvement of our field in interdisciplinary studies have generated multiple new questions and considerably enhanced knowledge on art in its cultural context. Yet, at the same time, a thorough discussion of methodology seems to be lacking. An international conference organized by the ANKK in 2015 will focus on the methodology of Netherlandish art history and will specifically explore the question of which methods are currently employed to examine the artistic theories and practices of the past. How do historical art theory and practice relate to recently developed methods, questions, terms and theories as well as curatorial concepts and exhibition practice?
It is now more than thirty years ago that Svetlana Alpers' monograph "The Art of Describing" (1983) initiated the last major methodological debate. Alpers regarded Dutch art of the 17th century as an independent contribution that actively pushed and influenced science, insight and visual culture. Her book was frequently perceived as an alternative concept to Erwin Panofsky's iconology and especially his book "Early Netherlandish Painting" (1953), in which the meaning of artworks is primarily conveyed through the logos of historical literary sources. This methodological debate revealed major problems and challenges particular to the study of the history of Netherlandish art. Unlike in Italy, we have only a small number of written sources that explicitly comment on art theory and artistic practice north of the Alps. Due to this lack, the artworks themselves have to serve as the primary source for their own understanding. Hence, Netherlandish art is considered particularly appropriate for methodological approaches such as "painted art theory” (Matthias Winner) or "meta-painting" (Victor Stoichita), which derive a theory of art from the objects themselves.
Methodological approaches deduced from the artworks themselves are but one example demonstrating the dynamic relationship between art theory and art practice. The conference thus aims to address further problems of the "theory of practice" (Pierre Bourdieu). How do recent approaches and areas of research in the history of science and philosophy, art history, image critique etc. respond to the possibility of an epistemic value of practices provided so well by Netherlandish art? To what extent are these methodological and theory-based approaches reflected by and implemented in curatorial practice? And how does the (re-)structuring of collections such as the Amsterdam Rijksmuseum relate to these concepts? The conference wishes to focus onto these and further aspects of the relationship between theory and practice.
Section and workshop proposals could include (but are not limited to) the following topics:
1) History of art history
- Methodological debates in the 20th century
- Methodological approaches and their historical contexts
- Curatorial and exhibition practices of the past
- History of collections
2) Art-historical methodology
- The various “turns” and their impact
- Theory and methodology of exhibiting
- Visual culture studies
- Digital art history
3) Theory of practice – practice of theory
- Painted art theory/ meta-painting/ interpicturality
- Art as a medium of cognition in epistemological fields of research
- Theories and practices of architecture
- Curatorial practice and its relation to art theoretical concepts
- Artistic practice and the notion of art
Jheronimus Bosch: His Life and His Work
's-Hertogenbosch, April 14-16, 2016.
To commemorate the death of Jheronimus Bosch in 1516, the city of ’s‑Hertogenbosch will organize a wide range of events in 2016. One of the highlights of the Jheronimus Bosch Year will be the exhibition Jheronimus Bosch - Visions of a Genius at Het Noordbrabants Museum, which will run from 12 February to 8 May 2016. By that time, the Bosch Research and Conservation Project will have published its new, two-volume monograph, which will be the outcome of over six years of research on one of the most creative and enigmatic artists of all times.
In conjunction with the exhibition and the publication of the new monograph, the international conference Jheronimus Bosch: His Life and His Work will be organized by the Jheronimus Bosch Art Center and the Bosch Research and Conservation Project. For this meeting, we invite proposals for 25-minute presentations on any aspect of Bosch studies. Please send your one-page proposal and a brief CV before September 1, 2015, to: firstname.lastname@example.org and email@example.com.
Conference Committee: Prof. Dr. Ron Spronk (chair), Prof. Dr. Jos Koldeweij, Dr. Eric De Bruyn, Dr. Matthijs Ilsink, Hannah Gooiker, M.A. (administrative support). The conferenceJheronimus Bosch: His Life and His Work will be supported by the Jheronimus Bosch Art Center, the Foundation Jheronimus Bosch 500, the City of ’s‑Hertogenbosch, Het Noordbrabants Museum, and Radboud University Nijmegen.
Jheronimus Bosch: His Life and His Work will be the fourth international conference organized at the Jheronimus Bosch Art Center (JBAC), after Jheronimus Bosch Revealed: The Painter and His World (2001); Jheronimus Bosch: His Sources (2007); and Jheronimus Bosch: His Patrons and His Public (2012). The JBAC is a study- and documentation center for the works and the world of Bosch for both specialists and a more general public. In the JBAC, reproductions of the entire oeuvre are on display in 1:1 scale.
Journal of Historians of Netherlandish Art (JHNA)
JHNA Issue Dedicated to Walter Liedtke
JHNA, the electronic journal of Historians of Netherlandish Art, plans to dedicate its Winter 2017 issue to the late Walter Liedtke (1945 - 2015), Curator of European Paintings at the Metropolitan Museum of Art, New York. Walter was a renowned scholar of Dutch and Flemish art and a founding member of HNA. In recent years he had also begun work on the museum's collection of Spanish paintings. We especially welcome submissions on subjects in keeping with Walter's interests, such as Vermeer and the Delft school, Rembrandt and his circle, Frans Hals, Flemish painting, and the art of Spain in relation to the Netherlands. In tribute to Walter's thirty-five year career at the Metropolitan Museum of Art, contributions should include consideration of at least one work of art in the European Paintings collection of the MMA. For detailed information on the collection, please refer to the museum's website (www.metmuseum.org) and to the catalogues authored by Walter Liedtke, Flemish Paintings in the Metropolitan Museum of Art, 1984, and Dutch Paintings in the Metropolitan Museum of Art, 2007.
Founded in 2009, the journal publishes issues of peer-reviewed articles twice per year. These 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 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, and collecting history.
All JHNA articles are evaluated in a double blind peer review process, which assures the highest critical standards and the anonymity of the author and the reviewers. Submissions to the Liedtke memorial issue will be treated like all submissions.
Length: approximately 3000-4000 words, with 6-7 images.
Please submit a description of your proposed article to all three editors by May 15, 2015, and completed essays by December 15, 2015.
Alison M. Kettering, Editor-in-Chief, JHNA, Carleton College, firstname.lastname@example.org
Stephanie Dickey, Guest Editor, Queens University, email@example.com
Nadine Orenstein, Guest Editor, Metropolitan Museum of Art, New York, firstname.lastname@example.org
The Journal of Historians of Netherlandish Art (www.jhna.org) announces its next submission deadline, August 1, 2015. Please consult the journal's Submission Guidelines.
JHNA is an open-access, peer-reviewed journal published twice per year. Articles focus on art produced in the Netherlands (north and south) during the early modern period (c. 1400-c.1750), and in other countries and later periods as they relate to this earlier art. This includes studies of painting, sculpture, graphic arts, tapestry, architecture, and decoration, from the perspectives of art history, art conservation, museum studies, historiography, technical studies, and collecting history. Book and exhibition reviews, however, will continue to be published in the HNA Newsletter.
The deadline for submission of articles is August 1, 2015.
Alison M. Kettering, Editor-in-Chief
Mark Trowbridge, Associate Editor
Dagmar Eichberger, Associate Editor
Cultural transactions between Italy and the Low Countries in the Cinque/ Seicento
Following on from a one-day WIS seminar dedicated to painter Michiel Coxcie's artistic and cultural contacts with Italy, Incontri. Rivista europea di studi italiani
will dedicate a special issue to the cultural interactions between Italy and the Low Countries in the sixteenth and seventeenth centuries. In the early modern period contacts between the two regions intensified. Inhabitants from the Low Countries visited Rome and other Italian cities either for educational or professional purposes, and this mobility and contact with Italian culture, alongside the strong commercial ties between both regions, introduced many Italian cultural elements and items to the Low Countries", such as language, literature, printed books, military cultur, political and scientific ideas. In addition, the presence of many Italian soldiers in the Habsburg army during the wars in the Netherlands played an important role in this process which lasted well into the seventeenth centur. These transactions and exchanges were often facilitated by brokers. Artists, but also military men, merchants, intellectuals or clerg, were crucial players in these transnational networks.Ttheir activities served a variety of interests that connected Italy, the Habsburg Low Countries and the Dutch Republic to each other. The aim of this special issue is to study the variety and nature of cultural exchanges between both regions in the sixteenth and seventeenth centuries. The focus is therefore not limited to contact between artists, in particular we invite submissions from a variety of disciplines studying cultural interactions that aim to revisit, augment or adjust our knowledge on this theme.
We invite interested authors to submit a concise proposal .300 words1 either in Dutch, English or Italian by 15 April 2015.
Submission of the article (5000 words, footnotes included) by 1 July2015. Please adhere to the editorial guidelines: www.rivista-incontri.nl/index.php/incontri. Submissions are subjected to double blind peer review.
Submit abstract and articles to the following e-mail address email@example.com
Morgan Library & Museum
Assistant/Associate Curator of Drawings and Prints (Full-time)
The Morgan Library & Museum invites applications for the position of Assistant or Associate Curator in the Department of Drawings and Prints. The primary responsibility of this position is the care, growth, display, interpretation, presentation, and publication of a broad spectrum of the Morgan’s extensive and famous collection of fifteenth through nineteenth century drawings and prints, with a particular emphasis on the Dutch, Flemish, and German schools. In consultation with the department head, the assistant/associate curator is responsible for organizing in-house and loan exhibitions featuring this and/or related material. The holder of the position should also be able to conduct research on other parts of the department’s holdings of drawings before 1900 and to participate in exhibitions and projects in other fields and media. The assistant/associate curator will also lecture on the collection as required and will participate in the planning and content of symposia, scholars’ days, and other programs organized under the auspices of the Morgan’s Drawing Institute. Participation in the administrative tasks associated with the functioning of the curatorial department is required; this will include responding to scholarly and public inquiries related to the collection and attending meetings or serving on committees as necessary. The position reports to the Charles W. Engelhard Curator, the Head of the Department of Drawings and Prints.
- Current or anticipated Ph.D. in the History of Art required.
- Minimum of 2-3 years experience in museum work and/or the academic field of art history required; curatorial experience in European art preferred.
- Broad knowledge of the history of European art, with a preferred specialization in Northern European art of the 15th- early 19th centuries.
- Experience in organizing all aspects of loan exhibitions including but not limited to identifying loans, writing catalogue entries, design and installation, preparation of didactic materials, and media relations.
- Proven record of independent scholarly research and publications of a very high standard; excellent writing skills.
- Intellectual creativity and an interest in making scholarship accessible to a broad audience.
- Willingness to establish familiarity with, and expand knowledge of, private collections, and to participate in activities associated with the visiting committee and other supporters of the department.
- Fluency in German or Dutch, and proficiency in at least one other European language
- Strong organizational, interpersonal, and communication skills, including demonstrated ability to work successfully in a collegial environment.
- Familiarity with TMS and other museum-related computer programs desirable.
- Able to work for extended periods standing or at a computer workstation and tolerate moderate levels of dust.
- Travel as required when serving as a courier for loans
Compensation: Salary and title commensurate with experience. Excellent benefits.
To apply: Interested applicants should e-mail a cover letter with resume, salary requirements, and names of three references to: firstname.lastname@example.org
Bader Postdoctoral Fellowships in the Humanities
Department of Art
Queen’s University is pleased to announce the Bader Postdoctoral Fellowships in the Humanities effective July 1, 2015.
The Department of Art (Art History) is accepting applications for a two-year postdoctoral fellowship for a scholar who demonstrates distinction and potential for future achievement in one or more of the following research areas: material culture, contemporary art, or the history of collecting and museums. Preference will be given to research that addresses Canadian or non-European art. Interaction is encouraged with the Department’s Art Conservation Program and with the Agnes Etherington Art Centre on campus. In addition to research, this postdoctoral fellowship will include teaching one 0.5 credit (3 units) course in each of the two years.
Candidates must have completed all requirements for the Ph.D. prior to July 1, 2015. A complete application consists of: (1) cover letter; (2) current CV; (3) writing sample; (4) statement of research; (5) evidence of teaching experience; and (6) three letters of reference. Applicants are encouraged to send all documents in their application package electronically (either as PDFs or MS Word files) to email@example.com, although hard copy applications may be submitted to Janice Helland, PhD, Professor & Head, Art History & Art Conservation, Ontario Hall, Queen’s University, Kingston, Ontario, CANADA K7L 3N6.
The deadline for applications is April 30, 2015.
The University will provide support in its recruitment processes to applicants with disabilities, including accommodation that takes into account an applicant’s accessibility needs. If you require accommodation during the interview process, please contact: Department of Art, Diane Platt at firstname.lastname@example.org.
Queen’s University is committed to employment equity and diversity in the workplace, and welcomes applications from women, visible minorities, aboriginal people, persons with disabilities, and persons of any sexual orientation or gender identity. All qualified candidates are encouraged to apply; however, Canadian citizens and Permanent Residents will be given priority.
This Postdoctoral Fellowship carries a minimum full-time equivalent salary of no less than $32,173. In addition, the incumbent will be separately appointed and compensated as a Term Adjunct to teach a 0.5 credit (3 unit) University course. The Term Adjunct appointment shall be governed by the Queen’s-QUFA collective agreement. While fulfilling the duties of the Term Adjunct appointment, the Postdoctoral Fellow appointment shall be reduced accordingly.
Dutch Art of the Golden Age: Tradition and Innovation
Amsterdam, The Hague, Haarlem, August 23-29, 2015.
For more information and registration http://amsu.edu/en/course/13502/dutch-art-of-the-golden-age-tradition-and-innovation
Mellon MA History of Art Courtauld Institute of Art
Visualizing Knowledge in the Early Modern Netherlands, c. 1550-1730
Taught by Prof Joanna Woodall and Dr Eric Jorink
The Southern Netherlands and later the Dutch Republic were not only famous for their art production, but at the centre of the fundamental reconfigurations of knowledge that took place in Europe during the early modern period. Cities such as Antwerp, Leiden and later Amsterdam were ‘hubs’ attracting merchants, printers, artists and scholars from all over Europe. Old as well as new models for knowledge were not only debated but also made visible and even made tactile. Moreover, it was in the Dutch Republic that the revolutionary philosophy of René Descartes was conceived and first published. This course will be particularly concerned with the role of visuality and visual materials in these exciting developments.
We shall explore, throughout the course, the fascinating questions of what knowledge was in the early modern period, and how its foundations were shifting. While some artists were engaged in representing the Garden of Eden, the Ark or the Temple on paper and canvas or in wood as a model of knowledge, others became fascinated by the influx of unknown information for the East and West Indies and other parts of the world. Illustrations – schemes, abstractions, or images done after life – played an increasing role in the debate about the New Philosophy. Rembrandt’s Anatomy lesson of Dr Tulp was one of the many paintings in which knowledge was questioned and constructed, as were Vermeer’s Cartographer and Astronomer. Cabinets of curiosities – by far the richest in Europe – were productive sites of knowledge, where words and things were connected, often displaying previously unknown naturalia and artificialia. Another major theme will be the changing relationship between visual materials and the authority with which they were invested. Rather than separating ‘works of art’ from ‘scientific’ illustrations and materials, the course will encompass paintings, drawings and prints by canonical artists alongside, for example, the illustrations to Descartes’ Discours, original drawings by Maria Sibylla Merian and even anatomical preparations.
The Andrew W. Mellon Foundation MAs are Options in which a visiting scholar from another discipline enters into dialogue with a member of the faculty at the Courtauld Institute. They are offered for only one year. Dr. Eric Jorink is an expert on Dutch scientific culture of the early modern era. He is Researcher at the Huygens Institute for Netherlands History (Royal Dutch Academy of Arts and Sciences) in The Hague and the author of Reading the Book of Nature in the Dutch Golden Age, 1575-1715 (Brill 2010; reviewed in this issue of the Newsletter).
Students with a background in art history, history and/or the history of science and ideas are particularly encouraged to apply for this Option. Knowledge of Dutch or a Germanic language, whilst not essential, would be an advantage.
We are accepting applications to this MA Special Option on a rolling basis.
Academic Registry The Courtauld Institute of Art Somerset House, Strand London WC2R 0RN UK
Tel: +44 (0)20 7848 2635 / 2645 Fax: +44 (0)20 7848 2410 Email: email@example.com
Netherlandish Art and Architecture in an International Perspective
Radboud University Nijmegen (Netherlands) offers a new Master's specialisation in Netherlandish Art and Architecture in an
International Perspective. This comprehensive, one-year programme explores the history of painting and sculpture, architecture and the decorative arts
of the Netherlands from the Late Middle Ages to the present. Taught in English, it gives students from different countries the opportunity to
specialise in one of the most fascinating fields in art history.
Prospective students will need a Bachelor's degree in Art History or Cultural Studies, or at least 45 EC points (or equivalent) in art history courses.
In all other cases, portfolio and motivation will determine whether the candidate meets the programme requirements. In addition, students will need
adequate English language skills.
For more information, visit our website www.ru.nl/masters/naa, or contact us at Radboud University's Student Information Desk (T: +31 (0)24 361 2345; E: firstname.lastname@example.org).
New Book Titles
New Book Series from Ashgate
Monographs in Art Historiography
Series Editor: Richard Woodfield, University of Birmingham
The aim of this series is to support and promote the study of the history and practice of art historical writing focussing on its institutional and conceptual foundations, from the past to the present day in all areas and all periods. Besides addressing the major innovators of the past it also encourages re-thinking ways in which the subject may be written in the future. It ignores the disciplinary boundaries imposed by the Anglophone expression 'art history' and allows and encourages the full range of enquiry that encompasses the visual arts in its broadest sense as well as topics falling within archaeology, anthropology, ethnography and other specialist disciplines and approaches. It welcomes contributions from young and established scholars and is aimed at building an expanded audience for what has hitherto been a much specialised topic of investigation. It complements the work of the Journal of Art Historiography.
Proposals should take the form of either
1) a preliminary letter of inquiry, briefly describing the project; or
2) a formal prospectus including: abstract, table of contents, sample chapter, estimate of length (in words, not pages), estimate of the number and type of illustrations to be included, and a c.v.
Please send a copy of either type of proposal to both the series editor and to the publisher:
Professor Richard Woodfield
Editor of the Journal of Art Historiography
Erika Gaffney, Publishing Manager
Ashgate Publishing Company
101 Cherry Styreet, Suite 420
Burlington VT 05401-4405