Conferences, Journals, Anthologies


Call for Papers and Sessions/Workshops

Call for Papers

Names and Naming in Early Modern Germany

Frühe Neuzeit Interdisziplinär (The Conference Group for Interdisciplinary Early Modern German Studies)

Vanderbilt University, Nashville, March 5-7, 2015. For full information, see or contact Joel Harrington

Methodology between Theory and Practice: On Historical and Current Approaches to Netherlandish Art and Art History

International conference of the Arbeitskreis Niederländische Kunst- und
Kulturgeschichte (ANKK), Bonn/Cologne, October 2–4, 2015

[1] Global Art History and the Netherlands
[2] A New and Rediscovered Methodological Approach: The Social History
of the Artist and the Study of Netherlandish Art
[3] Digital Art History
[4]Art History as Cultural Studies (Kulturwissenschaft)
[5] The Beholder’s Gaze. The Experience of Realism
[6] Methods of Architectural Historiography towards Dutch Modernism

Art-historical scholarship today is characterized by a diversity of
methods, as is research on Netherlandish art. The various
methodological "turns" of the past years and the increasing involvement
of our field in interdisciplinary studies have generated multiple new
questions and considerably enhanced knowledge on art in its cultural
context. Yet, at the same time, a thorough discussion of methodology
seems to be lacking. An international conference organized by the ANKK
in 2015 will focus on the methodology of Netherlandish art history and
will specifically explore the question of which methods are currently
employed to examine the artistic theories and practices of the past.
How do historical art theory and practice relate to recently developed
methods, questions, terms and theories as well as curatorial concepts
and exhibition practice?

The six sessions presented below are going to explore these and other
questions. The ANKK conference committee, the ANKK board and the
session chairs invite all members as well as interested colleagues in
Europe and overseas to submit proposals for papers (30 minutes).

SUBMISSIONS: Please submit your proposals to and
indicate in the subject line for which session you are applying. The
ANKK conference committee will forward the proposals to the session
chairs that will determine the speakers.
DEADLINE: October 5, 2014
ABSTRACT: maximum of 250 words
PERSONAL INFORMATION should include your name, contact details, home
institution and professional affiliation (museum, academics,
independent scholar).

PLEASE NOTE: All speakers are required to become members of the ANKK in

ANKK strongly encourages younger scholars to submit proposals.

The ANKK conference committee
(Thomas Fusenig, Sandra Hindriks, Eveliina Juntunen, Christiane Kruse,
Karin Leonhard, Petra Raschkewitz, Heike Schlie)

[1] Global Art History and the Netherlands

Dr. Thijs Weststeijn (University of Amsterdam)

Netherlandish art testifies in various ways to the increased
interconnectivity that characterizes the Early Modern world. The Low
Countries were an essential node during “First Globalization”: Antwerp
and Amsterdam became global capitals while the “world’s first
multinational”, the East India Company, heralded the age of classical
capitalism. A fortuitous combination of factors, including successful
mercantile logistics, geographical reach of the Jesuit mission, and the
thriving publishing industry made the area a crucible of cultural
exchange. Everyday lives changed as foreign luxuries became widely
available. Eventually, Dutch imitations of Chinese porcelain found
their way to colonists in Surinam. Not only were these objects
repositories of knowledge, carriers of ideas unto which new
expectations were projected; the Netherlands also engendered a
worldwide public for prints and a surplus of migrant artists.
Although art historians increasingly embrace worldwide perspectives and
case studies address Netherlandish art, scholars hesitate to
re-introduce universalist terms such as “Baroque” or project back
recent notions of cultural hybridity, imperialism, and consumer
capitalism. In this panel, therefore, relevant topics may therefore do
more than stretch geographical boundaries. In many cases, pervasive
“cross-mediality” characterizes the trajectory of images of and from
the foreign that were first published in print before returning in
applied art and architecture: not just the point of origin demands
interest, but also the reappropriation in Dutch or Flemish contexts.
The session welcomes contributions on the various arts and their
interrelations, including paintings, sculpture, prints, ceramics,
furniture, maps, and ship models. The session intends not only to bring
new case studies into the discussion but also to contribute to
conceptual clarity and directions for future research.

[2] A New and Rediscovered Methodological Approach: The Social History
of the Artist and the Study of Netherlandish Art

Dr. Birgit Ulrike Münch and Elsa Oßwald M.A. (EU-Project Artifex,
University of Trier)

The social history of the artist has only in recent years been
established as a methodological approach in art historical scholarship.
In contrast, for instance, to the sociology of art, which takes the
work of art as a starting point, it focuses first on the
socio-historical environment of the painter, sculptor or architect.
Only hereafter, in a second step is the art object itself interpreted.
The social history of the artist examines the artist's apprenticeship
and years of travel, as well as his social, professional and religious
involvement in guilds, Christian brotherhoods or Rederijkerskamers. It
investigates the organization and cooperation of the workshop, looks
into family structures and pays attention to the house of the artist
and his tomb monument. Furthermore, it questions the role played by the
artist in the art market and analyses his strategies of
self-representation. As a methodological approach, the social history
of the artist starts from the premise that these various aspects of the
artist's reality in life and work are essential in order to a
comprehensive interpretation of certain artifacts.
How do new insights gained in part from long-ignored sources affect our
understanding of the work of art? The methodological possibilities of
this approach, which has previously only been used in individual
studies regarding the art of the Holy Roman Empire, shall be explored
in the session with an explicit focus on Netherlandish art. Papers
might not only address the above-mentioned topics but also the history
of art history – for example, early socio-historical or sociological
approaches in relation to the social history of the artist. Although
under a different methodological terminology, the study of
Netherlandish art (when compared to other geographical areas) has long
since attached much importance to the evaluation of socio-historical
sources. This is demonstrated by the significant studies of Montias, an
early representative in the field, as well as Bok, De Marchi, Sluijter
and others. The session's four papers are intended to test the
methodological approach, either by bringing forward epoch-spanning
arguments or by means of case studies dating from the Middle Ages, the
early modern period, or modern times.

[3] Digital Art History

Prof. Dr. Ron Spronk (Queens University, Kingston, Ontario)

Digital art history is making a relatively slow start within the
rapidly expanding field of digital humanities. And while our own and
our students worlds are being increasingly inundated with imagery, it
appears that the training of art historians in visual and digital
literacy is severely lacking. This is quite surprising, since digital
imaging and computation are having an enormous impact on how we deal
[access, acquire, appreciate, calculate, communicate, compare,
distribute, interpret, process, teach, et cetera, et cetera] with Art
Historical data. The upcoming changes to art history will be vast, and
can only be compared with the impact on our field of the advent of
photography in the 19th century. With only few exceptions (among which
are technical art historians and scholars of socio-economical aspects
of art history), only few art historians seem to be aware of the
paradigm shift that is awaiting us in regard to changes to our research
methods and the ways that we communicating our findings with colleagues
or students.
This session aims to provide a platform for a wide range of initiatives
in this field. No topics will be excluded, but presentations that
incorporate aspects of historiography and education of digital art
history will be particularly welcomed.

[4] Art History as Cultural Studies (Kulturwissenschaft)

Hon.-Prof. Dr. Daniela Hammer-Tugendhat (Universität für angewandte
Kunst, Wien)

Art history as media- or cultural studies is based on a
semiotic-oriented theory of representation. It starts out from the
realization that our perception of the world is transmitted through
media, which is the only means to attribute and communicate meaning to
the world. Meaning/sense/content are always tied to media, and thus the
specific materiality of the medium and the concrete aesthetic
presentation are of great importance in this regard. This
cultural-scientific paradigm is of particular significance for
Netherlandish painting, for the latter’s “mimetic” character seems to
reflect the visually perceptible or social reality. Some works of
Netherlandish art are themselves influenced by contemporary discourses
and specific social conditions, and are bound to pictorial traditions.
These works have shaped our notion of the Netherlandish society with
regard to its identity and its relation to community, nature and

This session’s four papers should focus on the category of gender
through exemplary case studies and methodological reflection. As a
seemingly “natural” category, gender radicalizes the paradigm of
cultural studies that every verbal or visual articulation produces
meaning. Every kind of depiction of femininity and/or masculinity is
always also a semantization of gender.

The session seeks papers dedicated to new cultural-scientific
perspectives in gender studies, as well as papers that explore the
visual and material culture in the Netherlands from the fifteenth to
the seventeenth centuries, understanding gender as an integral
component of academic research.

[5] The Beholder’s Gaze. The Experience of Realism

Dr. Jenny Reynaerts (Rijksmuseum, Amsterdam)

From the 1990s research in visual culture has increasingly focused on
the visual reception of art objects and other cultural phenomena, as
for instance exhibitions, panoramas and cinema. The writings of
Foucault have been of decisive influence, construing the 19th c.
experience of justice, medicine and sexuality and the ensuing changing
perceptions as a historically determined process. Important work has
been done by a.o. Vanessa Schwartz and Nicholas Green, on the visual
impact of 19th century landscape painting, on the visual and the
spectacular and on the effects of mass consumerism on the art world.
In his ground-breaking book Techniques of the observer (1990) Jonathan
Crary has described the early 19th century recognition, through
scientific and psychological experiments, of the subjectivity of the
beholder’s gaze. It follows that art is perceived in manifold ways,
according to the beholder’s relation of the visible world. Pictorial
realism, until the 1820s seen as representation of a given world view,
thus necessarily became an issue of debate.
In this panel these interpretations will be discussed in relation to
Dutch art history. Papers are invited which will discuss the relation
between the beholder’s gaze and Dutch realism during all periods. Whose
subjective vision on the world is presented, and can we detect changes
in appreciation and interpretation, due to changing conventions of the
art world and/or individual visual experiences? And how does this
affect the presentation of Dutch painting in museums and exhibitions,
then and now?

[6] Methods of Architectural Historiography towards Dutch Modernism

Dr. Eva von Engelberg (Bauhaus-Universität Weimar), Jennifer Meyer,
M.A. (Rijksuniversiteit Groningen)

The at the beginning of the 20th century developed idea of Dutch
architectural modernism as separate from tradition has persisted up to
the present day, and appears to be a dominant characteristic of Dutch
architecture (‘Supermodernism’). Moreover, national architectural
historiography has distinguished Dutch modernism in terms of a leading
international strand (‘Superdutch’). Gradually the marked degree to
which architectural historiography had in the construction of Dutch
modernism has become apparent. An associated phenomenon is the
isolation of differing tendencies such as the Delftse School that has
been considered conservative for a long time, or Dutch Postmodernism,
which has often been marginalized. It is only recently that scholarship
has expanded its focus to include ‘regional’, ‘traditional’ and
‘historicizing’ architecture. Generally speaking, the historiography of
modern Dutch architecture is characterized by the appearance of new
protagonists in comparison to earlier periods: It seems – in tandem
with the discipline’s increasing marginalization in academic research –
that the discourse is primarily led by art critics and publicists
rather than by historians of art and architecture.
Stemming from these observations the following questions might be
addressed in the session:
•    Besides the predominant stylistic approach, what other questions
can be raised to explore the subject?
•    What kinds of strategies do the architects themselves employ with
regard to the art historical interpretation of their work? How does
academic research respond to this?
•    What role is adopted by the Nederlands Architectuurinstituut
(today Het Nieuwe Instituut) in the study of architectural history?
•    What importance does the research focus on “Modern Architecture”
have for the current understanding of contemporary Dutch architecture?
Other questions that engage with the subject are of course welcomed.

International Symposium Paul Coremans

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

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

Four major themes will be treated:

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

Deadline: October 31, 2014.

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

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

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

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

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

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

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

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

The NKJ is dedicated to a particular theme each year and publishes articles that employ a diversity of approaches to the study of Netherlandish art. For more information, see

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

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

Proposals for papers, in the form of a 300-word abstract and a short CV, should be sent to: Eric Jorink ( Frits Scholten (, Thijs Weststeijn (

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



Journal of Historians of Netherlandish Art (JHNA)

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

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

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

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

Dutch Crossing: Journal of Low Countries Studies

We invite scholars from all disciplines to submit original articles via the journal’s submissions tracking system. All submissions are blindly peer-reviewed and modifications may be required. Contributions should be in English, be accompanied by a 300 word abstract and provide translations of quotations in Dutch. The journal’s styleguide, full editorial policy and a cumulative index of all articles from 1977–2009 are available on the journal’s website.

We are also planning to launch special theme issues of Dutch Crossing from 2010 onwards, when the journal’s publication frequency will be raised to three issues per year. Apart from history, art history, literature and language we are interested in such topics as philosophy, visual arts, socio-linguistics, and popular culture. Proposals for themed issues may be sent to the editors: 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 recommendation letter to libraries is available on Maney’s website.

Oud Holland

Oud Holland, Quarterly for Dutch Art History now celebrates its 125th Volume!

Starting with the first issue of this 125th volume the layout of the journal has been updated and the journal now appears in full color for the first time in its history.

Oud Holland, the oldest surviving art history journal in the world, is devoted to the visual arts in the Netherlands up to the mid-nineteenth century. The journal contains articles of an equal number of Dutch authors and non-Dutch authors. There are four working languages used in the magazine (Dutch, English, French and German). Each non-English article has an English summery. Oud Holland is published four times a year. Every volume is richly illustrated and has at least 220 pages.

To celebrate the 125th volume of Oud Holland, we are pleased to offer a 25% discount on individual subscriptions for new subscribers to the 2012 volume. Individual subscriptions include print and online access, as well as access to all back volumes online. For more information on the journal, visit: Orders may be placed via email, (mention discount code 50175).

If you have questions, please do not hesitate to contact us at

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

Netherlands Yearbook for History of Art Online (NKJO)

The Netherlands Yearbook for History of Art (NKJ) is now available online offering access to all 62 volumes dating back to 1947.

The online version gives this unique and high quality publication an extra dimension. NKJ, reflecting the variety and diversity of approaches to the study of Netherlandish art and culture is now even more accessible and easy to use.

The Netherlands Yearbook for History of Art Online is offered on a subscription basis which means subscribers have online access to all volumes. Each NKJ volume is dedicated to a particular theme. The latest volume (62) is dedicated to Meaning in Materials 1400-1800

For details see or contact



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

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

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


Call for Research in Progress

Artists on the Move. Sculptors from the Low Countries in Europe 1450-1650

The Low Countries are by no means generally considered to be the motherland of sculpture. However, at close sight it can be noticed that Early Modern sculptors from the Northern and Southern Netherlands contributed considerably to the development of European sculpture, especially in the period between 1550 and 1650. The most important works, though, are to be found outside the Low Countries, which seems to be one of the reasons why they have seldom attracted scholarly attention so far. The marked mobility of  Netherlandish sculptors of the 16th and 17th centuries was one of the most important reasons for their success and their impact on the artistic development of their time. Most of them travelled far from their homelands and worked in various countries and regions from Sweden to Spain, and from England to nowadays Ukraine. And of course, a large number of these sculptors visited Rome, the Mekka of sculpture study in the Early Modern Era.

The diaspora of Netherlandish sculptors in the mentioned time span has not yet been systematically explored. The research project is about to dedicate itself to this challenge. As a starting point of further investigation we envisage to set up a database, the aim of which will be to collect and systematise biographical, geographical and chronological data of the migrating sculptors. For this purpose the documentation system of the Rijksbureau voor Kunsthistorische Documentatie (RKD) in The Hague will be employed and adjusted to the specific needs of the project with the help of experts at the University of Wroclaw. This kind of documentation will be instrumental in the cognition and analysis of structures and patterns within artist’s migration and careers and could result in a ‘collective biography’. It is expected that by taking the perspective of the artist’s mobility as a starting point, a new light could be thrown on the stylistic development of European sculpture and a new chapter could be added to the historiography of artistic relations between the Low Countries and the rest of Europe.

If you are interested in the project please do not hesitate to contact one of the persons below.

In Amsterdam: Arjan de Koomen (Universiteit van Amsterdam)
Frits Scholten (Rijksmuseum Amsterdam)

In Bamberg: Eveliina Juntunen (Universität Bamberg)

In Wroclaw: Aleksandra Lipinska (Uniwersytet Wroclawski)


Positions, Fellowships, Prizes

Rubenianum Fellowship 2015-2016

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

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


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

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


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

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


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

For additional information contact Bert Watteeuw at the Rubenianum,, +32 3 201 15 77

Metropolitan Museum of Art: The Slifka Foundation Interdisciplinary Fellowship

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

Applications are due November 1, 2014.

Please go to the following website to learn how to apply:

HNA Fellowship 2015-2016

We urge members to apply for the 2015-16 Fellowship. Scholars of any nationality who have been HNA members in good standing for at least two years are eligible to apply. The topic of the research project must be within the field of Northern European art ca. 1400-1800. Up to $2,000 may be requested for purposes such as travel to collections or research facilities, purchase of photographs or reproduction rights, or subvention of a publication. Preference will be given to projects nearing completion (such as books under contract). Winners will be notified in February 2015, with funds to be distributed by April. The application should consist of: (1) a short description of project (1-2 pp); (2) budget; (3) list of further funds applied/received for the same project; and (4) current c.v. A selection from a recent publication may be included but is not required. Pre-dissertation applicants must include a letter of recommendation from their advisor.

Applications should be sent, preferably via e-mail, by December 14, 2014, to Paul Crenshaw, Vice-President, Historians of Netherlandish Art. E-mail:; Postal address: Providence College, 1 Cummingham Square, Providence RI 02918-0001.



Bruges - Ghent

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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:


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, or contact us at Radboud University's Student Information Desk (T: +31 (0)24 361 2345; E:

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



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