Conferences, Journals, Fellowships

Conferences

Call for Papers

Women Artists – New Perspectives on the Research Area of the Pre-Modern Era

International Conference, Irsee, March 18-20, 2016.

In 1687 François Fénelon stated in his treatise on the education of girls (“De l’éducation des filles”): “Women in general have feebler minds than men and are more curious than men. Would it not also be purposeful to introduce them to studies which could occupy their minds completely. (…) Mechanical skills are for the most part unsuitable for them.”
Gender research in the field of the Late Middle Ages and the Early Modern Era has been conducted extensively for many years. Theory formation of the research approach has advanced greatly; in contrast, concern with concrete examples of women artists, female studio employees or female heads of studios has proven to be much less productive. It is true that individual personalities such as Artemisia Gentileschi, Sofonisba Anguissola or Properzia de’ Rossi – the only woman to whom Vasari dedicated a biography of her own – have received great attention; but the ‘search’ for hitherto unknown women artists has surely not been concluded. Even more than forty years ago, Linda Nochlin asked: “Why Have There Been No Great Women Artists?” Nochlin revealed the cultural practices which degraded women artists to ‘special cases’ and rendered them ‘invisible’. Up to the present, especially anonymous women artist personalities have remained without clear contours in the field of the social history of the artist. To take on the highly interesting topic of the pre-modern woman artist, we must expand the spectrum. This conference will include for the first time the term ‘woman artist’ in all of the aspects of artistic creativity: Along with (princely) dilettantes or studio employees there were, for example, numerous widows who single-handedly conducted the workshop/studio or the printing business after the death of the artist, sometimes for decades. Furthermore, to name an additional example, the term ‘muse’ must be redefined as it is still one-sidedly sexualised, and the woman concerned is degraded to exclusively inspiring the senses of the male artist. A profound alteration became manifest only late in the 20th century. To name only one example, it took a long time before the concept artist Christo named his wife as an artist of equal rank and Jean-Claude was no longer degraded simply as the muse. Many so-called muses have presumably taken an active part in a creative process as a kind of equal partner and as artist ‘at his side’, giving the male artist’s work important incentives. Moreover, it must be assumed that, as early as the Late Middle Ages, women in court circles, for example, were often more literate than men and were more greatly involved as educated advisors in artistic processes than has previously been thought.

In addition to the important approaches in the form of analyses of individual women artists, the conference wishes to portray both a broad spectrum concerning the term ‘woman artist’ as well as to open up perspectives into the modern. The emphasis here will be placed on the art of the Early Modern Era.

Papers on the methods of gender studies are welcome as are (new) definitions of terms as well as papers on art history and scholarship history, including the role of women artists in the history of exhibitions, the development of an historical art canon or its (presumed) positioning within the genre hierarchy.

Abstracts for hitherto unpublished articles (max. 2,000 characters, including spaces) in German or English can be sent together with a brief CV and, if applicable, a selection of related publications to Dr. Birgit Ulrike Münch M.A., email: kfi@uni-trier.de by 31 August 2015.

The Irsee Art History Forum will be conducted in cooperation with the Schwaben Academy Irsee (Dr. Markwart Herzog, Dr. Sylvia Heudecker) and artifex (Dr. Birgit Ulrike Münch, Dr. Andreas Tacke, Professor, both of the University of Trier).

Founded in 2012, the Irsee Art History Forum organizes annual Spring Academies. These conferences are devoted to the research area “the artist and society”. The Irsee Art History Forum offers an intra- and interdisciplinary research framework. Its goal is to combine research approaches to serious art history in all disciplines, methods and questions of (historical) cultural scholarship.

Calls for papers on specific topics are tendered annually, with a high percentage of young academics being drafted, that is, academics in the doctoral phase as well as the post-doctoral phase. Moreover, the forum aims to develop academic topics which are currently being discussed in society, so that innovative scholarly approaches are conveyed to the public.

Along with holding the annual Spring Academies, we have set a goal of always publishing the conference results. The results of a Spring Academy are to be published by the Michael Imhof Publishing Company (Petersberg) and presented in the respective following Spring Academy.


 

Netherlandish Art and Luxury Goods in Renaissance Spain. Trade, Patronage and Consumption

University of Leuven, February 4-6, 2016.

Initiated and organized by Illuminare – Centre for the Study of Medieval Art,  KU LeuvenIn 2010, Illuminare – Centre for the Study of Medieval Art (KU Leuven) acquired the archive of the eminent Belgian art historian professor Jan Karel Steppe (1918-2009). Steppe is internationally renowned for his groundbreaking research on the influx of Netherlandish art and luxury goods in fifteenth- and sixteenth-century Spain. By springtime 2016, his documentation will be archived and the inventory made accessible online. To celebrate this accomplishment, Illuminare is organizing an international conference on Steppe’s long-term and much loved research topic.

This conference will focus on a large variety of media, ranging from painting and tapestry to broadcloth and astrolabes. Special attention will be paid to the driving forces behind this export-driven market, such as artists, patrons, collectors and merchants. By taking into account cultural, religious, political and socio-economic dynamics, this conference aims to shed new light on the multifaceted artistic impact of the Low Countries on the Iberian Peninsula in the fifteenth and sixteenth centuries.

We welcome 20-minute papers by established and early career scholars that revisit or expand Steppe’s topics of research and, equally important, enhance these with recent methodologies and theoretical frameworks. The official language of the conference is English, although papers in French might be taken into consideration. Proposals of no more than 300 words and a brief CV should be submitted to drs. Robrecht Janssen (robrecht.janssen@arts.kuleuven.be) and drs. Daan van Heesch (daan.vanheesch@arts.kuleuven.be) by October 1, 2015. Speakers will be invited to submit their papers for a peer-reviewed publication on the topic.

Scientific committee
Barbara Baert (KU Leuven), Krista de Jonge (KU Leuven), Bart Fransen (KIK-IRPA, Brussels), Robrecht Janssen (KU Leuven / KIK-IRPA, Brussels), Maximiliaan Martens (Ghent University), Werner Thomas (KU Leuven), Paul Vandenbroeck (Royal Museum of Fine Arts Antwerp / KU Leuven), Jan Van der Stock (KU Leuven), Daan van Heesch (KU Leuven), Koenraad Van Cleempoel (Hasselt University), Annelies Vogels (KU Leuven), Lieve Watteeuw (KU Leuven)

For more information, please visit the conference website: https://netherlandishartinspain.wordpress.com


 

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 ’sHertogenbosch 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: spronkr@queensu.ca and hg@jheronimusbosch-artcenter.nl.

 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.

 

Journals

Journal of Historians of Netherlandish Art (JHNA)

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 incontri.segreteria@gmail.com

 

Positions, Fellowships

Morgan Library & Museum

Assistant/Associate Curator of Drawings and Prints (Full-time)

Responsibilities

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.

Qualifications

  • 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: drawings_curator@themorgan.org 


Queen’s University
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 hellandj@queensu.ca, 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 plattd@queensu.ca.

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.

 

Courses

Amsterdam

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



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

Call for publishing: "Frankfurt and the Art Market" (1500-1800)

What role did Frankfurt am Main play in the rise of printmaking and the commercial art market in general? Although today's Frankfurt Book Fair is a major publishing event, art historians have not focused on its Renaissance precursor, the Frankfurt fair, an important location for the purchase and exchange of prints. Agnes Frey Dürer sold her husband's prints there, the Antwerp publishing house Plantin-Moretus as well. Others found steadier work in Frankfurt. Jost Amman and Virgil Solis worked for printer Sigmund Feyerabend, following the example of Sebald Beham and Christian Egenolff, the first printer to settle permanently in Frankfurt. Frankfurt patricians supported book culture, embraced humanism, and enticed leading artists with their commissions. Albrecht Dürer painted his Heller Altarpiece for the owner of a building that housed many who traveled to the fair.

We seek papers for a volume that address Frankfurt and its art market(s) from 1500-1800, especially with regards to printing and the fair. What figures – printers, patricians – and what motives brought artists to the city? Where did visitors stay, and how might they have experienced the city? Who intersected with the art market in such areas as commerce or book and intaglio printing? What did elite culture in the city look like, and how did it tie Frankfurt to wider intellectual and artistic circles? We plan to publish a volume on the research topic "Frankfurt and the Art Market" in the artifex series of the Trierer Arbeitsstelle für Künstlersozialgeschichte (http://www.kuenstlersozialgeschichte-trier.de/tak-sharc/artifex/; director: Prof. Dr. Dr. Andreas Tacke) of the Imhof-Verlag. In order to publish this book, we would need your completed article by the end of January 2016. Only when the text and images are complete will it be possible to realize the volume within the framework of the EU project.

Please submit a proposal abstract of 1/2 page with the title of the planned text and a brief cv by August 20, 2015 to the editors team:

Lisa Kirch, Birgit Münch, Alison Stewart

kirchaustin@aol.combirgitumuench@yahoo.de / astewart2@inebraska.com

Authors of our volume will be informed at the beginning of September with all information, stylesheet etc.


 

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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