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 http://fni.ucr.edu/callforpapers.html or contact Joel Harrington joel.harrington@Vanderbilt.edu.
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.
Journals Journal of Historians of Netherlandish Art (JHNA)
The Journal of Historians of Netherlandish Art (www.jhna.org) 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: firstname.lastname@example.org. Past thematic issues have been produced on such topics as Anglo-Dutch relations in the 17th Century; Williamite Scotland and the Dutch Republic; contemporary Dutch women writers; Frisian culture; Landscape Painting; and Literary Translation and Medieval Drama.
Information on Subscription
Since 2009, Dutch Crossing is published by Maney Publishing (London, Leeds, Cambridge, Mass.) and is available both online (via IngentaConnect) and in print (ISSN 0309-6564). It is indexed and abstracted by a growing number of international indexing and abstracting services, including the Periodicals Index Online and the British Humanities Index (ProQuest), Current Abstracts and TOC Premier (both Ebsco) and the Modern Language Association (MLA). Some free content is available on IngentaConnect.
Individuals can subscribe to the journal at preferential rates by becoming a member of the Association for Low Countries Studies (ALCS) whose journal Dutch Crossing has become in 1997. Current membership fees, including subscription to Dutch Crossing are £31 (UK), $55 (US) or €40 (EU). Membership requests can be sent to A.C.Evans@sheffield.ac.uk. A recommendation letter to libraries is available on Maney’s website.
Oud Holland, Quarterly for Dutch Art History now celebrates its 125th Volume!
Starting with the first issue of this 125th volume the layout of the journal has been updated and the journal now appears in full color for the first time in its history.
Oud Holland, the oldest surviving art history journal in the world, is devoted to the visual arts in the Netherlands up to the mid-nineteenth century. The journal contains articles of an equal number of Dutch authors and non-Dutch authors. There are four working languages used in the magazine (Dutch, English, French and German). Each non-English article has an English summery. Oud Holland is published four times a year. Every volume is richly illustrated and has at least 220 pages.
To celebrate the 125th volume of Oud Holland, we are pleased to offer a 25% discount on individual subscriptions for new subscribers to the 2012 volume. Individual subscriptions include print and online access, as well as access to all back volumes online. For more information on the journal, visit: http://brill.nl/oh. Orders may be placed via email email@example.com, (mention discount code 50175).
If you have questions, please do not hesitate to contact us at firstname.lastname@example.org.
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 www.brill.com/nkjo or contact email@example.com
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 http://www.ashgate.com/default.aspx?page=5166; 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 (firstname.lastname@example.org or email@example.com) 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) A.R.deKoomen@uva.nl
Frits Scholten (Rijksmuseum Amsterdam) firstname.lastname@example.org
In Bamberg: Eveliina Juntunen (Universität Bamberg) email@example.com
In Wroclaw: Aleksandra Lipinska (Uniwersytet Wroclawski) firstname.lastname@example.org
Positions, Fellowships, Prizes
Bader Curator of European Art
Agnes Etherington Art Centre, Queen’s University, Kingston, Ontario, Canada
www.aeac.ca / www.queensu.edu
The Bader Curator of European Art leads the Agnes Etherington Art Centre’s historical European art exhibition program, ensuring its vitality by researching, writing, and developing exhibitions and related public events within a coherent artistic vision; and by producing high quality interpretive material and publications that contribute to advancement of the field. The Bader Curator of European Art is responsible for the Art Centre’s distinguished collection of historical European art, including research and recommendation of acquisitions. The centrepiece of our holdings in European art is The Bader Collection, comprising over 200 works spanning the 16th, 17th and 18th centuries, with a special strength in Dutch and Flemish paintings of the Baroque era. Highlights include two paintings by Rembrandt, and major works by important pupils such as Govert Flinck, Willem Drost and Aert de Gelder.
Our preferred candidate has sophisticated knowledge of historical European art, with depth of expertise in 17th-century Dutch and Flemish painting; a record of innovative exhibition development and experience shaping multi-year programs; knowledge and understanding of museum collection-care and development; and a record of excellence in research and publication in historical European art.
The Agnes Etherington Art Centre is a research‐intensive art museum located on the historic campus of Queen’s University. It serves as a learning space and as the public gallery for the region, and sustains a national and international profile through its exhibitions, programs and publications.
To apply: See posting # 2014-203 at http://www.queensu.ca/humanresources/apps/jps/external.php.
Deadline: August 20, 2014
2014 Roger de le Pasture/Rogier van der Weyden Prize
The international non-profit scientific association, Roger de le Pasture / Rogier van der Weyden hereby calls for nominations for the biennial "Roger de le Pasture / Rogier Van der Weyden Prize" to be awarded at the end of 2014.
This year the prize will reward two Master's Theses related to the history of figurative arts in the Southern Netherlands during the Burgundian period (late 14th - early 16th centuries). The first place will be awarded one thousand five hundred euros (1500 €) and the second place will be awarded one thousand euros (1000 €).
The works should be written in Dutch, English, French, German, Italian or Spanish, and must have been defended during the academic years of 2013 or 2014. Candidates will include with their application: a summary of their work as well as the jury results and a recommendation letter from their advisor.
The thesis should be submitted in two copies and should reach the Association before Friday October 3, 2014, proof of postage, and should be sent by regular mail to Mr. Serge HUSTACHE, President of the International scientific association Roger de le Pasture / Rogier van der Weyden, Cité Georges Point, rue Paul Pastur, 4, B-7500 Tournai, Belgium. Candidates must include their e-mail address with the package for e-mail confirmation of receipt. Copies will not be returned. They will be given to the Association's collection in the Tournai City Library and, for ten years, they may only be consulted with author's permission.
The Board of Directors of the Association is competent for any and all problems relating to the prize or for failure to comply with the above regulations. The Board's decisions are final and no reasons will be given for non-selection.
Recent laureates of the Roger de la Pasture / Rogier van der Weyden Prize:
2012 : Élodie DE ZUTTER (Université libre de Bruxelles) und Ruben SUYKERBUYK (Universiteit Gent), for their Master thesis on a portrait of Philip the Good kept in the St Magdalen Hospital in Ath and Michiel Coxcie's copies of old masters.
2010 : Dominic DELARUE (Universität Heidelberg) and Silvia CAPORALETTI (Università degli Studi di Padova), for their Master thesis on the Vie de saint Josse, an illuminated manuscript from the Burgundian ducal library and the influence of Flemish art on Giovanni Boccati and Antonio da Fabriano, painters from the Marche region.
2008: Chrystèle BLONDEAU (Université Paris Ouest Nanterre La Défense) and Didier MARTENS (Université libre de Bruxelles), for a collection of three important publications.
2006: Federica Veratelli (Università degli Studi di Ferrara) for her study Lacrime dipinte, lacrime reali. Rappresentare il dolore nel Quattrocento: modello fiammingo, ricezione italiana.
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: email@example.com; Postal address: Providence College, 1 Cummingham Square, Providence RI 02918-0001.
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: firstname.lastname@example.org
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: email@example.com).
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