Call for Proposals

Journal of Historians of Netherlandish Art (JHNA)

The Journal of Historians of Netherlandish Art ( announces its next submission deadline, August 1, 2014. Please consult the journal's Submission Guidelines.

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

The deadline for submission of articles is August 1, 2014.

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

Lias. Journal of Early Modern Intellectual Culture and its Sources

The Sublime in Early Modern Theories of Art, Architecture and the Theatre
Guest editors S. Bussels & B. Van Oostveldt Leiden University Centre for the Arts in Society

For this special issue of Lias we welcome proposals that focus on the appropriation of the Longinian sublime in theories of art, architecture and theatrical performances in the period prior to Burke and Kant. In contrast with previous studies on the visual sublime in Early Modernity, our primary focus will not be put on the analysis of works of art, but on the studia humanitatis and the new understandings of how artists could move their audience maximally. Already in sixteenth and seventeenth-century Europe, the treatise Peri hupsous (On the Sublime) by pseudo-Longinus was a crucial text to form humanist ideas on the overpowering effect of visual media. Thus the special issue of Lias addresses the earliest theories on the overwhelming agency of these visual media since Antiquity.

This project is part of the ERC starting grant program ‘Elevated Minds. The Sublime in the Public Arts in Seventeenth-Century Paris and Amsterdam’ (

Aims of the Special Issue
Since Nicolas Boileau’s canonical French translation of Peri hupsous in 1674, the sublime was for decades increasingly related to literature. However, prior to Boileau, Longinus’s treatise was appropriated in a broader field (Éva Madeleine Martin, ‘The “Prehistory” of the Sublime in Early Modern France. An Interdisciplinary Perspective’, in: The Sublime. From Antiquity to the Present, ed. T.M. Costelloe, Cambridge: Cambridge University Press 2012, pp. 77-101). For example, recent studies on the widely influential De pictura veterum by Franciscus Junius F.F. (Amsterdam 1637) have indicated the importance of Longinus for the Early Modern conceptualization of the breathtaking and awe-inspiring effect of painting (Judith Dundas, Sidney and Junius on Poetry and Painting. From the Margins to the Center, Newark: University of Delaware Press 2007, 227-33) and Philipp and Raina Fehl, ‘Introduction’, in Franciscus Junius, The Painting of the Ancients, ed. Keith Aldrich, Philipp and Raina Fehl, Berkeley: University of California Press 1992). However, we currently lack insight to what extent Longinus’s treatise was used before Junius, e.g. in Italian art theory(Hana Gründler, ‘Orrore, terrore, timore. Vasari und das Erhabene,’ in: Translations of the Sublime. The Early Modern Reception and Dissemination of Longinus’ Peri Hupsous in Rhetoric, the Visual Arts, Architecture and the Theatre, ed. Caroline van Eck, Stijn Bussels, Maarten Delbeke and Jürgen Pieters, Leiden: Brill 2012, pp. 83-116), or in the decades after Junius (with a few exceptions, e.g. Colette Nativel, ‘Le Traité du sublime et la pensée esthétique anglaise de Junius à Reynolds’, in: Acta conventus neo-latini hafniensis. Proceedings of the Eighth International Congress of Neo- Latin studies, ed. Rhoda Schnur, Binghamton-New York: Medieval & Renaissance Texts & Studies 1994, 721- 30 and Thijs Weststeijn, The Visible World: Samuel van Hoogstraten’s Art Theory and the Legitimation of Painting in the Dutch Golden Age, Amsterdam: Amsterdam University Press 2008, pp. 155-157).

Humanists, such as Lorenzo Giacomini, explicitly discussed Longinus’s use of the term phantasia (or mental image) to get a grasp on the overwhelming effect of art (e.g. Eugenio Refini, ‘Longinus and Poetic Imagination in Late Renaissance Literary Theory,' in: Translations of the Sublime, pp. 33-53). They learned from Longinus that poets and orators need to use phantasiai to make their subject present. Thus the poets and orators should become witnesses of the events themselves and can put these events into vivid words. In turn, the audience gets phantasiai thanks to the vividness of the sublime text or speech. However, we do not exclusively look at the Early Modern appropriation of Longinus’s phantasia: other elements from the Peri hupsous can be taken into regard as well, such as Longinus’s use of enthousiasmos (pointing at the state of total possession of the artist in the process of creation) or ekstasis and ekplexis (both defining the overwhelming effect on the audience), as well as the Longinian discussion on ‘greatness of mind’ and the juxtaposition of ‘flawless mediocrity’ versus ‘erratic genius’.

Since many other ancient authors also used these terms, it is not only necessary to assess to what extent humanists relied on the particular conceptualization of Longinus, but also how these humanists combined the ideas from the Peri hupsous with insights on overwhelming art from other ancient sources. Moreover, we have to clarify how humanists combined Longinus’s ideas on the sublime with neighboring concepts from Antiquity dealing with overwhelming art, such as Aristotle’s thaumaston, Plato’s mania, or Quintilian’s enargeia.

Lias is devoted to primary sources which concern the history of learning and education in the broadest sense: the artes liberales, the studia humanitatis, philosophy, etc. (http://poj.peeters- Starting from this interest, the special issue on the sublime in humanist art theory also places the primary sources at the center of attention. We will not primarily deal with the analysis of works of art, but start from an unpublished source or a neglected printed source that sheds more light on humanist thought on overwhelming art and the influence of the Longinian sublime and/or related concepts. The source will be published (according to its length, entirely or in part) and thoroughly discussed.

We invite scholars to send an abstract of c. 300 words before May 1, 2014 to This abstract will be discussed by the guest editors and the board of Lias. Remarks and comments will be sent to the contributors in July 2014. The deadline for an advanced draft of the contribution will be December 15, 2014. This draft will be distributed among all other contributors and discussed during an interactive workshop in March 2015. A revised version, to be submitted by September 1, 2015, will be commented on by the guest editors, the board of Lias and the anonymous reviewers. The deadline for the final version will be February 1, 2016, after which the guest editors, the board and reviewers will give their final approval. The special issue of Lias will be published in Winter 2016.

Simiolus, Netherlands Quarterly for the History of Art, vol. 37 (2013-2014), no. 1:
Bader Prize

The editors of Simiolus are pleased to announce that this year’s Bader Prize for the best original contribution on European art prior to 1950 written by an art historian younger than 35 at the time of submission went to Ruben Suykerbuyk (Ghent) for his article “Coxcie’s copies of old masters: an addition and an analysis.” It is the second volume of Simiolus to feature an article that was awarded the prize. We want to express our heartfelt thanks to Dr. Alfred and Isabel Bader for making this possible. We also wish to thank all the authors who sent us their manuscripts to compete for the award. We are looking forward to receiving the manuscripts for the next Bader Prize before June 15, 2014, and promise to publish the winning contribution in Simiolus 38. For further details please consult our website,

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


Call for Research in Progress and Dissertations

Early Modern Architecture

Early Modern Architecture ( is a new initiative that explores global, interdisciplinary frameworks for the architecture (design, theory, and practice) of Europe and its colonies, 1400-1800. We are particularly interested in fostering discussion about innovative issues, areas of inquiry, and approaches across both research and education. A major component of this initiative, therefore, will be encouraging a rigorous network of exchange among scholars and professionals.

As a step toward this exchange, we are now compiling two international lists: one of research projects in progress and one of Ph.D. dissertations -- both from any discipline and on any aspect of this field. We will post these lists on our website once we have gathered a substantial number of entries. The lists, we hope, will become an ongoing means for scholars to learn about up and coming research as well as to locate others who share their geographical and/or methodological concerns.

If you have a research project in progress or are writing a dissertation that is in progress or was completed during the 2010-2011 school year, please email us at with the author's (and supervisor's) name, the working title, and the names of your department as well as institution. We will then add your information to our lists. We appreciate your contribution to this component of the Early Modern Architecture initiative.

Freek Schmidt (Associate Professor, Faculty of Arts, Vrije Universiteit Amsterdam); Kimberley Skelton (independent scholar)

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

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

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

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

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

In Bamberg: Eveliina Juntunen (Universität Bamberg)

In Wroclaw: Aleksandra Lipinska (Uniwersytet Wroclawski)


Positions and Fellowships

Cambridge University, CRASSH - 3 Postdocs in Renaissance/Early Modern Studies

CRASSH at the University of Cambridge is pleased to announce three 4-5-year postdoctoral research positions in Renaissance/early modern studies. The posts are advertised in connection to the ERC-funded project Genius before Romanticism: Ingenuity in Early Modern Art and Science (PI: Dr Alexander Marr). Applications are invited from all fields pertinent to the project, but especially history of art and architecture, history of science, intellectual history, cultural history, English and modern languages and literatures, and book history.

Application deadline: 30 April 2014

Interviews: Late June 2014

Application procedure:

Applications should be made via the online system by 30 April 2014, and should include:

* Curriculum vitae, uploaded as a PDF file. Proficiency in languages must be indicated.
* A Proposal for a Monograph on early modern ingenuity, commensurate with the project’s scope and aims, typed directly into the field DESCRIPTION. The proposal, which should not exceed 2,000 words, should indicate suitability for the project, contribution to the field, resources to be used, and research skills required for completion. It should include a short bibliography and plan for completion of the monograph by the end-date of the RA position.
* A Sample of Writing, uploaded as PDF in the field indicated, of no more than 10,000 words. This should be the work that best indicates the candidate's suitability for this project. The writing sample may be published work, a chapter from the applicant’s thesis, or an unpublished essay/article.
* Completed form CHRIS 6, Parts 1 & 3 only, uploaded as pdf file in the Additional Material field 3.
* The names and contact details of two referees who are familiar with applicant's work, and who must submit confidential academic references via the online system by the closing date. It is the candidates’ responsibility to ensure that letters of reference are received by the deadline.

2014–2015 Interpretive Fellowship at the Bruce Museum

The Bruce Museum ( promotes the understanding and appreciation of Art and Science to enrich the lives of all people. The Museum is located in Greenwich, Connecticut, 40 miles east of New York City, just off I-95 and steps away from Metro-North Railroad’s Greenwich station.

The Bruce Museum Interpretive Fellowship provides an opportunity to develop educational programming for a major international traveling exhibition that will be presented in over six months, Northern Baroque Splendor: The Hohenbuchau Collection from the Liechtenstein Museum, Vienna. The Bruce Museum’s Executive Director, Dr. Peter C. Sutton, is the Curator of the exhibition and author of a 500-page, catalogue entitled The Hohenbuchau Collection: Dutch and Flemish Paintings from the Golden Age (2011). The Hohenbuchau Collection is remarkable for offering examples of virtually all the genres produced by Netherlandish/Old Masters – history painting, portraiture, landscapes, seascapes, still life, animal painting and hunting scenes—as well as rich diversity of size, format, and subject within each genre. Unique to the collection are the number of individual paintings executed by more than one artist, working in tandem.
Given the extent and richness of this exhibition, the Bruce Museum seeks a scholar/educator whose goal is to work collaboratively with curatorial and education departments to develop creative and enriching interpretive educational programming that reaches students in regional high schools and post-secondary institutions.

Ten to twelve months, from May 2014 through April 2015, with a stipend of $25,000 plus benefits. This is a full-time temporary position, 35 hours per week that includes ten vacation days, standard holidays, six floating holidays, six sick days, and one personal day.

At least an M.A. in art history, or art education, and desire to pursue further graduate study and professional placement in these fields. Interest and/or prior work in Northern Baroque Art is preferred.

Application Procedures
The following items are to be included in the application (incomplete applications cannot be considered).
1. A 500 word (two-page) personal statement indicating how this fellowship fits in with your education, experience, and professional goals, including previous study or work in/on Baroque art history.
2. A resume or curriculum vitae with phone and email contacts listed.
3. Two letters of recommendation, one from Academic Advisor if possible
4. Undergraduate and graduate transcripts.

DEADLINE FOR APPLICATIONS: The final application deadline is MAY 15, 2014.

Submit all material to:
Bruce Museum Interpretive Fellowship
Bruce Museum
1 Museum Drive
Greenwich, CT 06830-7157
Pending Funding
For information contact the Deputy Director, Susan Ball,

The American Friends of the Mauritshuis Fellowship

This fellowship offers grants in the field of art history, to support a project devoted to the study and connoisseurship of Dutch and Flemish art from the fifteenth through the eighteenth centuries. The fellowship is open to graduate students as well as curators in the United States or Canada. Graduate students should be researching dissertations that necessitate the examination of paintings, drawings or objects in the original; these candidates must be working towards a PhD at an American or Canadian University.  Curators who are planning an exhibition that requires firsthand study of objects or collections in the Netherlands or Belgium and who do not have funding from their institutions are invited to apply. The stipend is $15,000. To learn more about our organization, please visit

Applicants are invited to submit a proposal with a detailed description of the project (three pages maximum) and two letters of recommendation before July 1, 2014 to

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.




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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