Conferences, Journals, Fellowships

Conferences

Call for Papers

Likeness and Kinship
Artistic Families from the Sixteenth and Seventeenth Century Portrayed

In conjunction with the exhibition "Rubens in Private. The Master Portrays His Family" (Rubens House Museum, March 28, 2015 – June 28, 2015), the Rubenianum organizes a symposium on the early modern family portrait on Monday, June 22, 2015.

Portraits of artists’ families or family members will be given special attention, but images of families which played a different role in the business of art, such as those of art dealers and collectors, also belong to the subject of study. Both contributions focusing on the Southern Netherlands and those providing a relevant comparison through case-studies from a broader European context are welcomed.

A first avenue of inquiry concerns the formal and iconographic characteristics of this special subcategory of the portrait genre. How do portraits of families from this particularly visually literate group differ from those of other segments of the population who often took a less active interest in painting? Can certain trends be discerned in the visualization of families in artistic circles? In imagining their own families, do artists loosen the strict demands of decorum or do they adhere to pictorial traditions such as the heraldic position of husband and wife? In other words, do artists stretch the restrictive conventions of the genre in portraits of their own families, or do they conform entirely to the image to which their patrons aspire?

A second line of research concerns the conditions of display, exchange and inheritance of such portraits. What was their intended audience? Where in the home were they displayed? What is the ‘social life’ of these pictures? A related issue is the use of portraits of family members in broader workshop practice, for example when they sit for a tronie or appear in assistenza in larger composition or in a portrait historié.

Papers of 25 minutes in Dutch, English, French and German are welcomed. Please send an abstract of maximum 250 words and a brief bio to rubenianum@stad.antwerpen.be.

Deadline for submissions is March 1, 2015. Applicants will be informed of selection on March 15.


Sixteenth-Century Society Conference

Historians of Netherlandish Art is seeking chairs for one or more sponsored sessions at the Sixteenth-Century Society conference to take place in Vancouver, Canada, 22-25 October 2015. The topic should reflect the interests of our membership with an emphasis on the historical period pre-1650.

Please send session proposals to Stephanie Dickey (dickey.ss@gmail.com) no later than March 1, 2015. Once we have selected the session themes, a general call for papers will be sent to the HNA membership.

The general CFP from SCSC appears below. Further information is also available on the website: www.sixteenthcentury.org.

SCSC Call for Papers

The Sixteenth Century Society and Conference (SCSC) is now accepting proposals for individual presentations and complete panels for its 2015 annual conference, to be held 22-25 October 2015 at the Sheraton Wall Centre Hotel in Vancouver, British Columbia, Canada. The deadline for proposals is April 15, 2015. Within four weeks after the deadline, the Program Committee will notify all those who submitted proposals. The conference will once again host poster sessions. Poster presenters must request a poster session code prior to submission from: conference@sixteenthcentury.org

In addition to standard panels, the organizing committee will be accepting proposals for four types of alternate panels: Workshop Option A: Discussion of pre-circulated papers in a workshop format (limit of 4 participants).
Workshop Option B: Analysis of thorny translation/paleography questions; pre-circulation not required (limit of 3 participants).
Workshop Option C: Examination of a big issue or question with brief comments from presenters and lively audience participation (similar to roundtables with more audience participation; limit of 4 participants).
Questions about formats should be directed to: conference@sixteenthcentury.org

The SCSC, founded to promote scholarship on the early modern era (ca. 1450 – ca. 1660), actively encourages the participation of international scholars as well as the integration of younger colleagues into the academic community. We also welcome proposals for roundtables sponsored by scholarly societies that are affiliated with the SCSC.

Abstracts (up to 250 words in length) for individual presentations and complete panels may be submitted online at: www.sixteenthcentury.org/conference

The SCSC, a not-for-profit scholarly organization, receives no governmental or institutional funding. In order to participate in this conference, delegates or their sponsoring institution/organization will need to fund their own travel and lodging expenses in addition to a $170 per delegate registration fee ($100 student fee). The registration fee is used to pay for conference facilities and general events. By paying the fee, delegates become members in the SCSC and receive the Sixteenth Century Journal.


The Senses and Visual Culture from Antiquity to the Renaissance

Where does the recent sensory turn in the Arts and Humanities leave the study of Visual Culture? Can the viewer/object model incorporate the full sensorium without imposing ocularcentrism? How has vision’s relation to the other senses been expressed and explored through the visual arts from Antiquity to the Early Modern Period? How have the senses and sensory experience been represented in art before the Modern era?

This conference will explore the complex relationship between the visual and the sensory in contemporary theory and ancient practice. It will investigate the ways that art, from icons to illuminated manuscripts, music to architecture, and poetry to theatre, acted as a space for thinking about sensory experience, and for representing sensory ideas and theories. It will bring together scholars from a range of fields, including Classics and Ancient History, Medieval and Byzantine Studies, Musicology, Museum Studies and the History of Art, to explore these questions in the context of different historical periods and cultures, and in terms of politics, religion, philosophy, and society in the pre-Modern era.
We invite abstracts of 300 words for papers including but not limited to the following themes:

  1. The role of the visual;
  2. The non-visual senses and the reception of visual culture;
  3. Embodied interaction with apparently visual art;
  4. The use of ancient sensory theory in later practice;
  5. Representations of sensory experience;
  6. The difference between Eastern and Western European traditions in terms of ideas about the senses and how they are represented;
  7. Displaying historical sensory experiences in museum settings;
  8. The future of visual culture studies of pre-modern Europe.

Papers will be 20 minutes long, with 10 minutes for discussion. The conference will be held June 8-9, 2015, at the University of Bristol, UK. Please send abstracts and CVs to the organisers, Erica O’Brien and Heather Hunter-Crawley at sensesvisualculture@gmail.com, by April 10, 2015. For further information and updates, please see the conference website: sensesandvisualculture.wordpress.com


Art and Science in the Early Modern Low Countries (ca. 1550-1730)

Rijksmuseum and Trippenhuis, Amsterdam, September 17-18, 2015. In preparation for a future exhibition organized by the Rijksmuseum and the Huygens Institute for the History of the Netherlands (Royal Dutch Academy of Arts and Sciences).

Proposals for 20-minute and 10-minute papers.

300-word abstract, together with a short cv, to be sent before April 15, 2015 to:

Jan de Hond: j.de.hond@rijksmuseum.nl

Eric Jorink: eric.jorink@huygens.knaw.nl


Cross-Canvas Conversations

SECAC , Pittsburgh, PA, October 21-24, 2015.

Upon receiving a commission from the Duke of Bridgewater in 1801, J. M. W. Turner executed Dutch Boats in a Gale: Fishermen Endeavoring to Put their Fish on Board as a companion for A Rising Gale (1671-72) by Willem van de Velde the Younger, also in the patron's collection. Turner did not merely complicate the narrative of van de Velde's picture with the addition of his own. Hung together, the pendants functioned as a brief genealogy in marine painting and invited comparison between the two artists. Though pictures had been created in complementary pairs since late antiquity, Turner had found a new application for this format. This session invites papers that consider similarly inventive strategies for the pendant or its hinged predecessor, the diptych. Pendants can include works conceived as a set but need not be limited to just those. Other kinds of pendants might include: conceptual pairs, wherein an artist conceived of works as pendants though they were not commissioned or sold together, or belated pendants, in which a single work later receives a pendant either by the same hand or another. We seek papers that elucidate particular sets of works as well as those that explore theories or challenges regarding the creation and study of pendants. Directions may include notions of complementarity, questions of intention, and issues of display.

Session chairs: Leslie Anderson-Perkins, Indianapolis Museum of Art, and Katie Hanson, Museum of Fine Arts, Boston.
Contact: landerson-perkins@imamuseum.org

The deadline for proposals is April 20, 2015, at midnight. Submission instructions may be found at http://www.secollegeart.org/conference


Confluence in Medieval and Renaissance Art

SECAC , Pittsburgh, PA, October 21-24, 2015.

Echoing the conference theme, this session will examine confluence (flowing together, merging, gathering, meeting) in art of the Middle Ages and/or Renaissance. This includes the joining of artistic traditions, methods, functions, or iconography; the coming together of influences from various locations, artists, traditions, or sources; or any other examples of confluence in European art from the third through sixteenth centuries.

Session Chair: Vida J. Hull, East Tennessee State University, hull@etsu.edu

The deadline for proposals is April 20, 2015, at midnight. Submission instructions may be found at http://www.secollegeart.org/conference

SECAC asks that proposals and a 200-word abstract be sent via Paper Proposal Form to the conference organizers, who will send them to the chairs after the April 20 deadline. C.v.s should be sent directly to the conference chair. SECAC 2015 will be held October 21-24 in Pittsburgh, PA.


Feminist Art History Conference

American University, Washington, DC, November 6–8, 2015.

This annual conference builds on the legacy of feminist art-historical scholarship and pedagogy initiated by Norma Broude and Mary D. Garrard at American University. To further the inclusive spirit of their groundbreaking anthologies, we invite papers on subjects spanning the chronological spectrum, from the ancient world through the present, to foster a broad dialogue on feminist art-historical practice. Papers may address such topics as: artists, movements, and works of art and architecture; cultural institutions and critical discourses; practices of collecting, patronage, and display; the gendering of objects, spaces, and media; the reception of images; and issues of power, agency, gender, and sexuality within visual cultures. Submissions on under-represented art-historical fields, geographic areas or national traditions, and issues of race and ethnicity are encouraged.

To be considered for participation, please provide a single document in Microsoft Word. It should consist of a one-page, single-spaced proposal of unpublished work, up to 500 words in length for a 20-minute presentation, followed by a curriculum vitae of no more than two pages. Please title the document “[last name]-proposal”.

Submit materials with the subject line “[last name]-proposal” to: fahc6papers@gmail.com.

Submission Deadline: May 15, 2015. Invitations to participate will be sent by July 1.

Keynote speaker: Professor Amelia Jones, University of Southern California
“The Curating of Feminist Art (or is it the Feminist Curating of Art?)”

Sponsored by the Art History Program and the Department of Art, College of Arts and Sciences, American University. Organizing committee: Juliet Bellow, Norma Broude, Kim Butler Wingfield, Mary D. Garrard, Helen Langa, Andrea Pearson, and Ying-chen Peng.

Send general queries to: fahc2015queries@gmail.com
Questions may be addressed to Andrea Pearson: pearson@american.edu

 

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

 

Positions, Fellowships

Rijksmuseum Research Fellowship Program

The Rijksmuseum operates a research fellowship program for outstanding candidates working on the art and history of the Low Countries whose principal concern is object-based research.

The Rijksmuseum houses the world’s largest collection of Dutch artistic and historical treasures, and the most complete library on Dutch art. The museum re-opened its doors to the public in April 2013 following a ten-year renovation that completely transformed the institution. For the first time in its history, the paintings, sculpture, decorative arts and historical artefacts are being shown together in a chronological display. This innovative curatorial approach presents the public with an overview of the art and history of the Netherlands from the Middle Ages to the twentieth century.

Program

The aim of the Rijksmuseum Research Fellowship Program is to train a new generation of museum professionals: inquisitive object-based specialists who will further develop understanding of Netherlandish art and history for the future. The focus of research should relate to the Rijksmuseum’s collection, and may encompass any of its varied holdings, including Netherlandish paintings, sculpture, decorative arts, prints, drawings, photography and historical artefacts. The purpose of the programme is to enable doctoral candidates to base part of their research at the Rijksmuseum and to encourage the understanding of Netherlandish art and history by offering students and scholars access to the museum’s collections, library, conservation laboratories and curatorial expertise. Partnership and collaboration is at the heart of these fellowships, which provide support for the museum and its research priorities, as well as its academic and non-academic partners.

Doctoral fellowships

The doctoral fellowships support individuals engaged in postgraduate studies leading to a Doctor of Philosophy (PhD) or Doctor of Science (DSc) degree.

The Andrew W. Mellon Foundation will provide one doctoral fellowship annually. This is a one-year fellowship, with the possibility of renewal for one additional year. Applications should include an outline of the proposed research, related to the Rijksmuseum's holdings, in which objects are fundamental. A suitable project might entail research into art objects as artistic or historical sources; object-related archival research; or scientific research. The fellow’s progress will be assessed by the curator responsible for him/her in consultation with his/her supervisor(s) to determine if the renewal of the fellowship for a second year is desirable. Satisfactory performance will result in prolongation.

Funding for the following two fellowships was provided by Royal DSM and JLL Partners.
The DSM-JLL Fellowship will enable one doctoral candidate to conduct conservation research. Specifically, the fellowship supports conservation research or technical research on Dutch paintings. This fellowship has a one-year duration.

The JLL-DSM Fellowship will enable one doctoral candidate to conduct art historical research. The proposed research should demonstrate a particular focus on Dutch paintings. This fellowship has a one-year duration.

Terms and conditions for doctoral fellowships

Preference will be given to applicants whose doctoral research corresponds with museum research projects. Each fellow will work closely with a curator or conservator in his or her field, and will be exposed to curatorial practice. This will, in most cases, include the handling of objects and contact with the staff of the Conservation Department. Also of importance will be the communication of academic findings to a broad public in the museum through one of our educational programmes (for example specialists’ talks in the galleries). Before the start of the fellowship, the dissertation supervisor and the curator will discuss the proposed research and prepare a suitable programme with the candidate.
The value of each fellowship is €33,000 annually (before tax). The grantee will be responsible for making all arrangements for travel, accommodation, etc. The fellowship will allow for limited travel for research in art collections and archives elsewhere in Europe to a maximum value of €5,000 annually.

The fellowship will preferably result in a publication, the content and form of which will be decided by the fellow and the curator in consultation with colleagues at the Rijksmuseum.

Applicants will be selected by an international committee.

Other research grants

The research grants below provide support for pre-doctoral, doctoral and post-doctoral candidates.

The Johan Huizinga Fund offers outstanding postgraduate candidates the opportunity to conduct historical research into objects in in the Rijksmuseum collection. Candidates are invited to submit a research proposal that draws on these objects as subject material and as sources of information. The Johan Huizinga Fund Fellowship is awarded annually and comprises a grant of €16,500 (before tax) for a six-month period during which the candidate is expected to conclude the research and produce a manuscript of approximately 15,000 words in length. Manuscripts found to be of suitable quality will appear as part of the newly launched publication series Rijksmuseum Studies in History.

The Manfred & Hanna Heiting Fund enables the Rijksmuseum to annually award two postgraduate fellowships that stimulate outstanding object-based, photo-historical research by prospective curators from the Netherlands or abroad. The research is based on the National Photo Collection held by the Rijksmuseum’s Print Room. It will form the basis for an article on classical photography pertaining to original works from the Rijksmuseum’s rich holdings of photographic works and, where possible, to objects in other collections. The international research bursary of €14,412 (before tax) is for a period of six months commencing 1 September, the start of the academic year. For information on the most recent publication supported by the Manfred & Hanna Heiting Fund, see Rijksmuseum Studies in Photography.

Application and procedure

The Rijksmuseum will provide office space in which the fellows can work, in order to stimulate an exchange of knowledge, ideas and experience. Access will be provided to all necessary information in the museum, as well as to the library and the resources of the Netherlands Institute for Art History (RKD) in The Hague and the University of Amsterdam.

Fellowships are open to students of all nationalities and with varied specialisms. They may include art historians, curators, conservators, historians and scientists. Candidates should have proven research capabilities, academic credentials and excellent written and spoken knowledge of two languages (English and preferably Dutch or German).
For the 2015-2016 academic year, candidates can apply for the following fellowships:

Please ensure that you are fully informed about the documents required for application by following the relevant application link.

The closing date for all applications is 15 March 2015, at 6:00 pm (Amsterdam time/CET). No applications will be accepted after this deadline. All applications must be submitted online and in English. Applications or related materials delivered via email, postal mail, or in person will not be accepted.
Selection will take place in April 2015. Applicants will be notified by 1 May 2015. All fellowships will start in September 2015.

Further information

For additional information, please visit http://rijksmuseum.nl/en/fellowships.

  • For questions concerning the application procedure, contact Marije Spek, Coordinator of the Fellowship Programme (m.spek@rijksmuseum.nl), +31 (0)20-6747395.
  • For questions concerning the Andrew W. Mellon Fellowship, the DSM-JLL Fellowship and the JLL-DSM Fellowship, contact Frits Scholten, Senior Curator of Sculpture (f.scholten@rijksmuseum.nl), +31 (0)20-6747243.
  • For questions concerning the Manfred & Hanna Heiting Fellowship, contact Mattie Boom, Curator of Photography (m.boom@rijksmuseum.nl), +31 (0)20 674 7262; or Hans Rooseboom, Curator of Photography (h.rooseboom@rijksmuseum.nl), +31 (0)20 674 7299.
  • For questions concerning the Johan Huizinga Fellowship, contact Jan de Hond, Curator of History (j.de.hond@rijksmuseum.nl), +31 (0)20 674 7204.

University of Melbourne

Curator/ Research Fellow position (2 years and 8 months), as part of a collaboration between the Centre for the History of Emotions, the University of Melbourne and the National Gallery of Victoria.

Application deadline March 17, 2015.

The position can be accessed through this University of Melbourne link: http://jobs.unimelb.edu.au/caw/en/job/885142/curator-research-fellow

Contact for enquiries only:

Professor Charles Zika by email: c.zika@unimelb.edu.au
Dr Isobel Crombie by email: isobel.crombie@ngv.vic.gov.au


Rhode Island College

Adjunct lecturer needed for upper-level survey of Baroque Art (N&S), at Rhode Island College in Providence, RI for Spring 2015.

Class meets M/W at 9:30-10:50. Enrollment maximum is 30 students, but will likely be closer to 20. Some teaching experience and at least an MA in art history required. Pay is competitive.

Please contact Sara Picard with CV and cover letter.

Sara Picard
Assistant Professor of Art History
Rhode Island College
spicard@ric.edu

 

Courses

London

Mellon MA History of Art Courtauld Institute of Art

Visualizing Knowledge in the Early Modern Netherlands, c. 1550-1730
Taught by Prof Joanna Woodall and Dr Eric Jorink

The Southern Netherlands and later the Dutch Republic were not only famous for their art production, but at the centre of the fundamental reconfigurations of knowledge that took place in Europe during the early modern period. Cities such as Antwerp, Leiden and later Amsterdam were ‘hubs’ attracting merchants, printers, artists and scholars from all over Europe. Old as well as new models for knowledge were not only debated but also made visible and even made tactile. Moreover, it was in the Dutch Republic that the revolutionary philosophy of René Descartes was conceived and first published. This course will be particularly concerned with the role of visuality and visual materials in these exciting developments.

We shall explore, throughout the course, the fascinating questions of what knowledge was in the early modern period, and how its foundations were shifting. While some artists were engaged in representing the Garden of Eden, the Ark or the Temple on paper and canvas or in wood as a model of knowledge, others became fascinated by the influx of unknown information for the East and West Indies and other parts of the world. Illustrations – schemes, abstractions, or images done after life – played an increasing role in the debate about the New Philosophy. Rembrandt’s Anatomy lesson of Dr Tulp was one of the many paintings in which knowledge was questioned and constructed, as were Vermeer’s Cartographer and Astronomer. Cabinets of curiosities – by far the richest in Europe – were productive sites of knowledge, where words and things were connected, often displaying previously unknown naturalia and artificialia. Another major theme will be the changing relationship between visual materials and the authority with which they were invested. Rather than separating ‘works of art’ from ‘scientific’ illustrations and materials, the course will encompass paintings, drawings and prints by canonical artists alongside, for example, the illustrations to Descartes’ Discours, original drawings by Maria Sibylla Merian and even anatomical preparations.

The Andrew W. Mellon Foundation MAs are Options in which a visiting scholar from another discipline enters into dialogue with a member of the faculty at the Courtauld Institute. They are offered for only one year. Dr. Eric Jorink is an expert on Dutch scientific culture of the early modern era. He is Researcher at the Huygens Institute for Netherlands History (Royal Dutch Academy of Arts and Sciences) in The Hague and the author of Reading the Book of Nature in the Dutch Golden Age, 1575-1715 (Brill 2010; reviewed in this issue of the Newsletter).

Students with a background in art history, history and/or the history of science and ideas are particularly encouraged to apply for this Option. Knowledge of Dutch or a Germanic language, whilst not essential, would be an advantage.
We are accepting applications to this MA Special Option on a rolling basis.
http://www.courtauld.ac.uk/degreeprogrammes/postgraduate/ma/specialoptions.shtml
Academic Registry The Courtauld Institute of Art Somerset House, Strand London WC2R 0RN UK
Tel: +44 (0)20 7848 2635 / 2645 Fax: +44 (0)20 7848 2410 Email: pgadmissions@courtauld.ac.uk


Nijmegen

Netherlandish Art and Architecture in an International Perspective

Radboud University Nijmegen (Netherlands) offers a new Master's specialisation in Netherlandish Art and Architecture in an International Perspective. This comprehensive, one-year programme explores the history of painting and sculpture, architecture and the decorative arts of the Netherlands from the Late Middle Ages to the present. Taught in English, it gives students from different countries the opportunity to specialise in one of the most fascinating fields in art history.

Prospective students will need a Bachelor's degree in Art History or Cultural Studies, or at least 45 EC points (or equivalent) in art history courses. In all other cases, portfolio and motivation will determine whether the candidate meets the programme requirements. In addition, students will need adequate English language skills.

For more information, visit our website www.ru.nl/masters/naa, or contact us at Radboud University's Student Information Desk (T: +31 (0)24 361 2345; E: sid@dsz.ru.nl).


New Book Titles

New Book Series from Ashgate

Monographs in Art Historiography
Series Editor: Richard Woodfield, University of Birmingham

The aim of this series is to support and promote the study of the history and practice of art historical writing focussing on its institutional and conceptual foundations, from the past to the present day in all areas and all periods. Besides addressing the major innovators of the past it also encourages re-thinking ways in which the subject may be written in the future. It ignores the disciplinary boundaries imposed by the Anglophone expression 'art history' and allows and encourages the full range of enquiry that encompasses the visual arts in its broadest sense as well as topics falling within archaeology, anthropology, ethnography and other specialist disciplines and approaches. It welcomes contributions from young and established scholars and is aimed at building an expanded audience for what has hitherto been a much specialised topic of investigation. It complements the work of the Journal of Art Historiography.

Proposals should take the form of either

1) a preliminary letter of inquiry, briefly describing the project; or

2) a formal prospectus including:  abstract, table of contents, sample chapter, estimate of length (in words, not pages), estimate of the number and type of illustrations to be included, and a c.v.

 Please send a copy of either type of proposal to both the series editor and to the publisher:

Professor Richard Woodfield                                       
Editor of the Journal of Art Historiography           
r.woodfield@bham.ac.uk                                             
http://arthistoriography.wordpress.com 

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

               


                                                                                      
                                                                                      

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