Call for Sessions/Papers/Articles/Essays
Call for Proposals
Netherlands Yearbook for History of Art/Nederlands Kunsthistorisch Jaarboek 65
Arts of Display
Works of art and their display have always been closely connected. Most art was and is created for exhibition in one form or another, and the history of the display of an art object often forms a meaningful part of its story. Exhibiting art involves strategies, techniques and devices that have much in common with other fields of presentation: theatre, advertising, interior design, book design, the display of goods in shops and shop windows. These display strategies use techniques that are partly culturally determined, and partly rooted in a biological determination of human perception, as Gombrich, among others, made clear. How we perceive patterns, prefer symmetry and note differences of scale between an object and its surroundings all have a direct bearing on the way art was and is shown. Moreover, changing modes of display and viewing conditions can create new narratives and can even lead to active or performative relationships between the displayed object and the viewer, resulting in playful (or sometimes aggressive) interactions. Finally, rules of decorum and rhetoric often play an important role in the art of display.
Often unwritten, such rules are partly determined by the intrinsic qualities – size, shape, material, colour or composition – of works of art. Just as important is the decor against which an artwork is shown: the mise-en-scène with its supporting, decorative elements (or with a complete lack of decoration: the white cube, for example). The hierarchy in the arrangement of works of art in relation to other art objects is another factor (be it in a church, a Kunstkammer, studiolo or cabinet, a museum gallery, exhibition hall, or outdoor space). The context of the particular site affects the meaning of an artwork. In addition, the ‘instruments of display’ – frames, pedestals, display cases and other furniture, architecture, lighting – mark the boundaries between the artwork and its surroundings, between the real and the representational space.
Apart from exhibiting works of art, other, more abstract forms of display often involve art, for instance ‘displaying of the self’ through the self-portrait; the ‘display of identity and gender’ through clothing, behaviour, etiquette, accessories and cosmetics; the ‘display of (political and dynastic) power’ through symbols (regalia, heraldry) that use the visual arts and architecture to create grandiose decors. In part, this kind of display of power is rooted in the elaborate court culture of the Burgundian and Habsburg Netherlands in the 15th and 16th centuries and culminates in the ‘fabrication of Louis XIV’ in Baroque France.
Volume 65 of the NKJ will be devoted to the display of art within the visual culture of the Netherlands. We invite proposals that examine and conceptualize the history, meaning and techniques of exhibiting works of art in the Low Countries from the medieval and early modern periods up to the 21st century. The focus will not be on the artwork – unless the object is analysed as an agent of display itself – but on how it is presented, on its intended context and, particularly, on how the relation between the work of art and its surrounding space manifests itself in various meaningful ways.
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. 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 January 1, 2014. Selection of proposals will take place in January and February 2014. The deadline for submission of the full articles for consideration and editorial comment is May 31, 2014. 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:
Frits Scholten (firstname.lastname@example.org)
Perry Chapman (email@example.com)
Eveline Koolhaas (firstname.lastname@example.org)
Deadline: January 1, 2014
Notification: March 2014
Deadline first draft: May 31, 2014
Journal of Historians of Netherlandish Art (JHNA)
The Journal of Historians of Netherlandish Art (www.jhna.org) announces its next submission deadline, March 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 March 1, 2014.
Alison M. Kettering, Editor-in-Chief
Mark Trowbridge, Associate Editor
Jeffrey Chipps Smith, Associate Editor
Call for Contributions for a Special Issue of the Journal of Historians of Netherlandish Art
This special issue will focus on the concept of the Sublime in seventeenth-century art, architecture, and theatre, deriving from ps.-Longinus' On the Sublime. Throughout the seventeenth century the Longinian sublime played an important role in Dutch art and theatre. The poetics by Heinsius and Vossius and the art theory of Junius were strongly influenced by On the Sublime. In their turn, these writings exerted a strong influence upon Vondel, Rembrandt, and Hoogstraten, among others.
We invite scholars to send an abstract before January 1, 2014 to S.P.M.Bussels@hum.leidenuniv.nl. This abstract will be discussed by the guest editors and the board of the Journal of Historians of Netherlandish Art. Remarks and comments will be sent to the authors at the beginning of February 2014. At that time the participants are asked to send us an advanced draft before October 15, 2014. This will be distributed among all other contributors. During a workshop in December 2014 the contributors are asked to present their own contribution and comment upon the other contributions. A revised version needs to be submitted by June 1, 2015. The guest editors, the board, and anonymous reviewers will give their comments and remarks. A final version needs to be submitted by December 1, 2015, whereupon the guest editors, the board and reviewers give their final approval. The special issue of the JHNA will be published in 2016.
The Sublime in Seventeenth-Century Dutch Art, Architecture and Theater
In Rembrandt’s Eyes (1999) Simon Schama sees Rembrandt’s ‘astounding capacity for transforming the ordinary into the sublime’ as quintessential for safeguarding the painter from a mediocre career as a Rubens imitator. Nevertheless, Schama does not clarify what he actually means with the sublime. Scholarly use of the sublime in the context of seventeenth-century Dutch art is often problematic. Later definitions by Burke or Kant are used or, by contrast, any influence of the sublime is denied because the Burkean or Kantian concepts were not present yet.
However, some art historians succeed in defining the sublime as a rising concept in seventeenth-century art. Louis Marin and Clelia Nau start from the appropriation of (ps.-)Longinus’ treatise on the sublime, Peri hupsous,in early modern poetics and fruitfully connect it with the work of Poussin and Claude Lorrain. Similarly, for this special issue of JHNA we want to re-evaluate the role of the antique concept of the sublime for our understanding of Dutch seventeenth-century painting, print, sculpture, architecture, poetry and theatre. We will relate the rise of the sublime with a rich diversity of artistic endeavors to raise wonder, dismay and/or bewilderment by representing explicit cruelty or, by contrast, grandeur.
The appropriation of Peri hupsous can clearly be found in seventeenth-century Dutch poetics starting from De constitutione tragoediae (1611) of Daniel Heinsius. There, the antique concept of the sublime is used to discuss the role of the artist combining talent and skill to achieve an overwhelming effect on the beholder. By doing so, the Republic was groundbreaking. Put in an international perspective, Dutch poetics influenced among others the German poet Opitz and English poets as Jonson, Milton, and Dryden. Moreover, French drama theory (e.g. Chapelain) and practice (e.g. Corneille) heavily rely on Dutch poetics.
In its turn, Franciscus Junius’s De pictura veterum (1637) used the antique concept of the sublime for the first time in an art theory and influenced a wide range of discourses on the visual arts throughout the whole of Europe. The appropriation of Longinus’ theory led to new ideas on the role of the visual artist and his attempts to overwhelm the onlooker. Rubens’s and Van Dyck’s enthusiastic responses to Junius’ art theory are well known, but Junius was also read in Dutch seventeenth-century artistic circles, influencing among others Samuel van Hoogstraten. More particularly, recent research has convincingly pointed out that painterly experiments to increase emotional appeal, e.g. Rembrandt, can be related to Junius’s theoretical considerations on evoking strong emotions.
For a thorough understanding of the influence of Peri Hupsous on seventeenth-century Dutch art we will follow a twofold approach. First, we will look at networks concerning the sublime by concentrating on the question who was acquainted with Longinus’s treatise. Second, we will look at the works of art themselves and link them to contemporary responses describing sublime experiences. For example, Vondel translated Sophocles’ Electra with the help of Isaac Vossius when the latter was studying Longinus’ treatise. In the same period Vondel’s preference shifted from Senecan to Greek tragedy. Therefore, we can look at how Peri hupsous influenced the playwright to create a coherent plot in which monologues and dialogues prevailed instead of the visual power of cruelties. Next, we relate this to contemporary authors lauding Vondel’s rehabilitation of Greek tragedy by underlining the overwhelming effect on the onlooker.
Vondel’s case points out that we also have to look at neighboring concepts, such as the discussion of Senecan cruelties. Although in Vondel’s oeuvre the Senecan dismay decreased in importance, Seneca’s influence maintained throughout the entire seventeenth century, as the tragedies of Jan Vos and Thomas Asselijn show, as well as prints and paintings by Jan Luyken and Jan de Baen. Seneca’s philosophical writing was used to defend the overwhelming experiences conveyed by the straightforward presentation of cruelties in the theatre and the visual arts. Thus, time and again the question was put in how far the onlooker could benefit from blunt representations of atrocity.
Besides, discussions on wonder were important means to promote understanding on the overpowering effect of art. New research on seventeenth-century Dutch painting theory and practice has pointed out that the term ‘wonder’ involved both the attraction to learn something unfamiliar, as well as sensuous joy and a recent close reading of laudatory poems on the Amsterdam town hall and Quellinus’s decorations clarifies that the term wonder was used in both the sense of admiration and stupefaction. The building was praised for its ability to bring the visitor to an overwhelming experience of joy, as well as terror; Whereas Quellinus’s decorations of the Citizen’s Hall were presented as being able to make the visitors feel in heaven, his sculpture of the tribunal brought them straight to hell. Next to the Senecan cruelties and the concept of wonder, Roman catholic theories on divine apparitions, Vasari’s terribilità and Aristoteles’s catharsis and thaumaston can be taken into account to have a better understanding of the ‘melting pot’ in which the Longinian sublime formed an increasingly important part for discussing and creating overwhelming experiences with art.
This research relies on the book volume Translations of the Sublime which clarified that whereas the overwhelming power of art was important during all times, late sixteenth- and seventeenth-century scholars were the first to follow antiquity and come to a theoretical understanding of this power thanks to the concept of the sublime. Translations of the Sublime further showed how these endeavors concurred with artistic experiments to enforce the overwhelming effect of art. The project Elevated Minds (ERC Starting Grant) that started in 2013 goes further on these findings concentrating on the sublime in the public arts in seventeenth-century Paris and Amsterdam.
Among others, following questions may be treated:
- How did seventeenth-century Dutch poetics and art theory use Longinus’s Peri hupsous in discussions on the overwhelming effect of painting, print, sculpture, architecture and the theatre? And which other theories and concepts were similarly used in these discussions?
- Which artists were acquainted with these discussions and in how far did these discussions influence their work? E.g. how far can the sublime and related concepts be linked with the popularity of depictions of ship wrecks, ruins and nocturnes on the one hand and the emergence of grand cityscapes and church interiors on the other? How far can it elucidate the tension between the tragedies following Senecan and those following Greek tradition?
- How far can we relate the poetics and art theories with contemporary responses to artworks in which wonder is expressed? Can we speak of an increasing importance of responses relying on the Longinian sublime at the expense of other formats and concepts expressing overwhelming experiences evoked by art?
Possible subjects could be Quellinus’ sculptures in the Amsterdam town hall, Vondel’s tragedies, Jan Luyken’s prints of executions, Rembrandt’s Passion-scenes, Berckheyde’s townscapes, or the gruesome plays of Thomas Asselijn versus the classicist tragedies by Nil Volentibus Arduum. Our focus on the sublime can also lead to the reappraisal of less renowned art, among others the appalling nocturnes with huge fires of Egbert van der Poel, the terrifying storm scenes from Adam Willaerts to the Van de Velde family, or the grand ruin depictions of Jan Asselijn, Willem Buytewech, and Willem van Nieulandt.
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.
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 firstname.lastname@example.org 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) email@example.com
In Bamberg: Eveliina Juntunen (Universität Bamberg) firstname.lastname@example.org
In Wroclaw: Aleksandra Lipinska (Uniwersytet Wroclawski) email@example.com
Positions and Fellowships
HNA Fellowship 2014 – 2015
We urge members to apply for the 2014-15 Fellowship. Scholars of any nationality who have been HNA members in good standing for at least two years are eligible to apply. The topic of the research project must be within the field of Northern European art ca. 1400-1800. Up to $1,000 may be requested for purposes such as travel to collections or research facilities, purchase of photographs or reproduction rights, or subvention of a publication. Winners will be notified in February 2014, with funds to be distributed by April. The application should consist of: (1) a short description of project (1-2 pp); (2) budget; (3) list of further funds applied/received for the same project; and (4) current c.v. A selection from a recent publication may be included but is not required. Pre-dissertation applicants must include a letter of recommendation from their advisor.
Applications should be sent, preferably via e-mail, by December 14, 2013, to Paul Crenshaw, Vice-President, Historians of Netherlandish Art. E-mail: firstname.lastname@example.org; Postal address: Providence College, 1 Cummingham Square, Providence RI 02918-0001.
Max Planck Institute for the History of Science, Berlin
The Max Planck Institute for the History of Science, Berlin (the Max Planck Research Group Art and Knowledge in Pre-Modern Europe; Director: Prof. Dr. Sven Dupré) announces two postdoctoral fellowships for up to two years, starting date between July 1 and October 1, 2014. Outstanding scholars are invited to apply.
Candidates should hold a doctorate in the history of science and technology or a related field (art history, conservation science, technical art history, history of medicine) at the time of application and show evidence of scholarly promise in the form of publications and other achievements. Tenure of a prior postdoctoral fellowship will be to the candidate’s advantage.
Particularly welcome are research projects on ‘Early Modern Art Technologies and Materials’: see http://www.mpiwg-berlin.mpg.de/en/research/projects/FGDupre_Art_Technology. However, research projects addressing the full scope of Max Planck Research Group dealing with the history of knowledge and art up to the eighteenth century (with a preference for the period between 1350 and 1750) will be considered. Research projects may concern any geographical area within Europe, and any of the visual and decorative arts. For short descriptions of the project, see http://www.mpiwg- berlin.mpg.de/en/research/projects/MRGdupre.
Postdoctoral fellows are expected to take part in the scientific life of the Institute, to advance their own research project, and to actively contribute to the project of the Max Planck Research Group Art and Knowledge in Pre- Modern Europe.
The Max Planck Institute for the History of Science is an international and interdisciplinary research institute (http://www.mpiwg-berlin.mpg.de/en/index.html). The colloquium language is English; it is expected that candidates will be able to present their own work and discuss that of others fluently in that language. Fellowships are endowed with a monthly stipend between 2,100 € and 2,500 € (fellows from abroad) or between 1,468 € and 1,621 € (fellows from Germany, who may alternatively opt for a contract TVöD E13 in the German system).
Candidates of all nationalities are encouraged to apply; applications from women are especially welcome. The Max Planck Society is committed to promoting handicapped individuals and encourages them to apply.
Only electronic submissions will be accepted. Candidates are requested to submit a cover letter, curriculum vitae including publication list, research prospectus (maximum 750 words), and at least one sample of writing (i.e. article or book chapter) to:
Please arrange to have two referees send signed scanned letters of recommendation to:
or originals by snail mail to: Max-Planck-Institut für Wissenschaftsgeschichte Max Planck Research Group Dupré́
Deadline for submission: February15, 2014 // Interviews will take place on March 26, 2014.
For questions concerning the Max Planck Research Group on Art and Knowledge in Pre-Modern Europe, please see http://www.mpiwg-berlin.mpg.de/en/research/projects/MRGdupre or contact Sven Dupré (officedupre@mpiwg- berlin.mpg.de). For questions relating to the online application procedure please contact (officedupre@mpiwg- berlin.mpg.de). For administrative questions concerning the position or the Institute, please contact Claudia Paaß (email@example.com), Head of Administration, or Jochen Schneider (firstname.lastname@example.org), Research Coordinator.
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.
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 email@example.com
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 (firstname.lastname@example.org).
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 (email@example.com).
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 firstname.lastname@example.org. 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: 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