Conferences, Journals, Fellowships
Call for Papers
The Arts and New Technologies
Bruce Museum, Greenwich, CT, June 19, 2016.
Abstract Deadline: February 15, 2016.
The Bruce Museum welcomes submissions for its second annual graduate student symposium, this year organized in conjunction with the exhibition Electric Paris.
Electric Paris explores the ways in which artists depicted older oil and gas lamps and the newer electric lighting that emerged by the turn of the twentieth century. Whether nostalgic renderings of gas lit boulevards, subtly evocative scenes of half shadow, or starkly illuminated dance halls, these works of art record the ways in which Parisians experienced the city as it transitioned from old to new technologies.
Building on this central theme of the exhibition, the museum invites graduate students in the humanities to submit papers on the relationship between the arts and the advent of new technologies from a broad range of time periods, geographic regions, and theoretical approaches. From the invention of the printing press through to the popularization of social media, emerging technologies have had a profound effect on the arts. This symposium seeks to address how artists, writers, musicians, and the like have responded to advancements in travel, communication, medicine, etc., which radically reshape the lived experience.
Potential approaches to this topic include, but are not limited to:
· Technology as subject matter
· Using new technology in the process of art making
· New technology as artistic medium
· New technology as dissemination tool
· Overt rejection of technology
· History and reception of new technology
· Gendered, racial, or social issues in relation to technological change
· Exhibition of new technology
· New technology and the built environment
Graduate students chosen to participate in the symposium will present 20 minute papers, which will be followed by a discussion moderated by Dr. Gülru Çakmak, Assistant Professor of Nineteenth-Century European Art at University of Massachusetts, Amherst. All graduate speakers will receive an award of $250 for participating.
Please submit an abstract (maximum 300 words) for a twenty-minute paper and a one-page CV as a single PDF by February 15, 2016. Selected speakers will be notified in early March. Completed papers must be submitted by April 20th.
Please email materials to Mia Laufer at firstname.lastname@example.org
Paragons and Paper Bags. Early Modern Prints from the Consumer’s Perspective
Rijksmuseum, Amsterdam, June 9, 2016
Early modern prints were a widespread and artistically diverse medium and the creative process of a print did not stop after printing. Researching the creative afterlife of prints is therefore an essential development in the study of early modern visual culture. Although the consumption and reception of early modern books has received increasing attention in the past decades, only some scholars such as Peter Schmidt (Gedruckte Bilder in handgeschriebenen Büchern. Zum Gebrauch von Druckgraphik im 15. Jahrhundert, 2003), Jan van der Waals (Prints in the Golden Age. From Art to Shelf Paper, 2006), Kathryn Rudy (Virtual Pilgrimages in the Convent. Imagining Jerusalem in the Late Middle Ages, 2011), and Suzanne Karr Schmidt (Altered and Adorned. Using Renaissance Prints in Daily Life, 2011) have integrated the consumer’s side of the print market and the concrete use of prints in their research.
In order to stimulate this promising evolution, the Rijksmuseum Amsterdam is organising an international conference on early modern prints, ranging from precious artistic prints that were carefully collected to cheap printed images that were used and discarded. Paragons and Paper Bags. Early Modern Prints from the Consumer’s Perspective will take place at the Rijksmuseum on Thursday 9 June 2016. The aim of this symposium is to further develop this new approach in order to achieve new insights on target audiences, the application and usage of prints, and special collection practices.
The organisers particularly welcome object-based proposals regarding printed pictorial material or written primary sources. Topics for discussion may include, but are not limited to:
- Prints with particular engraving or printing techniques, colouring, or multi-sheet compositions, resulting in a special visual or practical experience
Usage and manipulation
- Prints that were applied to objects, furniture or walls
- Prints that were altered by the consumer, deviating from the printmaker’s intentions such as censoring, colouring, and cutting
- Manuscripts and printed books in which prints were added and integrated
- Prints as a source of inspiration for other forms of art
- Prints depicted on other works of art
- Printed primary sources or archival documents on the intended use of specific prints
Target audiences and collection practices
- Print albums that reveal particular contemporary collection practices or the target market for specific prints or print genres
- Prints or primary sources on prints that were created on the initiative of a private individual or professional organisation with a particular purpose in mind
- The appreciation and appraisal of specific prints and printed oeuvres
- Printed primary sources or archival documents on the consumers of early modern prints
- Printed primary sources or archival documents on target audiences of specific prints
The organisation will consider proposals for 20-minute papers, presenting the findings of new or ongoing research. The application, consisting of a proposal abstract (maximum 300 words and an image) and a concise curriculum vitae, should be sent to email@example.com before the 1st of March 2016. The final program of the conference will be announced later that month.
Thomas Döring (Herzog Anton Ulrich-Museum, Braunschweig), Erik Hinterding (Rijksmuseum Amsterdam), Huigen Leeflang (Rijksmuseum Amsterdam), Ger Luijten (Fondation Custodia, Paris), Jeroen Luyckx (Rijksmuseum Amsterdam/ Illuminare – University of Leuven), Mark McDonald (The Metropolitan Museum of Art, New York), Jane Turner (Rijksmuseum Amsterdam), An Van Camp (Ashmolean Museum, Oxford), Peter van der Coelen (Museum Boijmans Van Beuningen, Rotterdam), Jan Van der Stock (Illuminare – University of Leuven), Joris Van Grieken (Royal Library of Belgium, Brussels), Joyce Zelen (Rijksmuseum Amsterdam/ Radboud University Nijmegen)
For more information, please visit the conference website:
Imaging Utopia: New Perspectives on Northern Renaissance Art
XXth Symposium for the Study of Underdrawing and Technology in Painting
Illuminare - Centre for the Study of Medieval Art (University of Leuven), Belgium, January 11-13, 2017.
The twentieth symposium for the Study of Underdrawing and Technology in Painting will be held in Leuven in the context of the major exhibition In Search of Utopia. In 1516, Thomas More (1478- 1535), humanist, statesman and ambassador of Henry VIII of England, published his book Utopia at the renowned printing house established by Dirk Martens in the university city of Leuven. To mark the quincentenary of this milestone in Europe's intellectual and cultural history the city of Leuven and University of Leuven are mounting In Search of Utopia.
The conference will focus on sixteenth-century Northern art, with special emphasis on painting, sculpture, manuscripts and mixed media, from a variety of approaches. We have extended the original, more technical scope of the symposium to include art historical and iconological perspectives as to reveal the multifarious nature of the sixteenth century. After successful editions on Rogier van der Weyden and Jan van Eyck among others, this symposium will focus on the period in-between the 'Flemish Primitives' and Pieter Bruegel the Elder. The latter will be the topic of the XXIst edition hosted by KIK-IRPA (Brussels) in 2018.
The symposium calls for papers on art-technical research on Northern Renaissance art based on innovative imaging and analytical techniques (Imaging Utopia, Utopian Imaging). Contributions that explore artist or workshop practice in painting, illumination, sculpture and mixed media objects are welcome. The aim of the conference is to consider how new imaging and analytical techniques can contribute to a better understanding of the arts during this highly dynamic period. Special attention will be paid to mixed media in sixteenth-century art by focussing on the Mechelen Enclosed Garden research and conservation project. In honour of this project, Mechelen will be the venue of the first day of the conference. We also aim to contextualize the artistic impact of intellectual shifts and expanding worldviews that emerged during the first decades of the sixteenth century (Humanism, Visual Culture and the Pursuit of Knowledge). This shift not only occurred in the minds of the humanists and intelligentsia, but can also be seen in the visual culture of this period. Poor life conditions and political instability engendered the desire to search for ideal places and perfect social circumstances. These phantasms had complex and multi-layered repercussions on the visual arts, such as the popular representations of 'pleasant places', loci amoeni (Locus Amoenus). However, these internal desires also resulted in 'external' expressions: the physical search for paradise on earth, such as the exploratory expeditions to the New World (Terra Incognita). These new horizons shaped the artistic representation of the 'other' and the 'unknown'. At the same time, the artistic search to redeem these deeply-rooted desires produced visual antitypes of this kind of Utopian thinking, resulting in the most horrific scenes in which reality and fantasy are no longer antonyms (Dystopia).
Topics of interest include, but are not limited to:
1. New perspectives on technical art history and the Northern Renaissance
o New imaging and analytical tools and techniques applied on Northern Renaissance art
o The challenges of exploring, preserving and imaging sixteenth-century mixed media, with special emphasis on the Enclosed Gardens
o Visual Digital Humanities and Northern Renaissance art
2. New perspectives on Utopian thinking and the art of the Northern Renaissance
o Major intellectual, scientific and religious shifts in the sixteenth century and their repercussions on visual culture and society
o The (re)creation of earthly and heavenly paradises in Northern Renaissance art
o The search for 'untouched' places in the New World
o Critical evaluations of representations of the 'other' and the 'unknown' in the visual arts
o Visual antitypes of Utopian artistic expressions
The partners of the XXth symposium are Illuminare - Centre for the Study of Medieval Art (University of Leuven), Erfgoed Mechelen (Museums & Heritage Mechelen) Université catholique de Louvain (UCL), KIK-IRPA (Brussels) and the Flemish Research Centre for the Arts in the Burgundian Netherlands (Musea Brugge).
We welcome 20-minute papers that engage with these varied, but interconnected topics of research and, equally important, explore recent technological research methods, fresh methodologies and theoretical frameworks. We wish to encourage an integrated approach of technical art history, art history and iconology. The official language of the conference is English. Proposals of no more than 300 words and a brief CV should be submitted to illuminare@arts. kuleuven.be before Friday, April 1, 2016.
The proceedings of the conference will be published by Peeters Publishers.
For more information, please visit the conference website:
Call for Proposals
Journal of Historians of Netherlandish Art (JHNA)
The Journal of Historians of Netherlandish Art (www.jhna.org) announces its next submission deadline, March 1, 2016. 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, 2016.
Alison M. Kettering, Editor-in-Chief
Mark Trowbridge, Associate Editor
Dagmar Eichberger, Associate Editor
Jacquelyn Coutré, Associate Editor
Netherlands Yearbook for History of Art/Nederlands Kunsthistorisch Jaarboek vol. 67
Netherlandish Sculpture of the 16th Century
Sculpture was one of the principal arts in the Low Countries during the 16th century, an important vehicle for supporting the interests of the nobility and the church in particular. The period saw the transition from a ‘Gothic’ to an ‘antique’ artistic mode, a transformation in which sculpture assumed a leading role. Throughout the century, Netherlandish sculpture was a prestigious and favored export product—from carved oak altarpieces to alabaster reliefs, brass epitaphs, and huisaltaren - while at the same time many sculptors from the Low Countries travelled extensively through Europe.
Until quite recently, surveys of early modern art in Northern Europe rarely included much sculpture. Only since Baxandall’s important book, The Limewood Sculptors of Renaissance Germany, of 1980 have Tilman Riemenschneider and his south German contemporaries entered the English language canon and historians of other media have had to contend with sculpture in the Germanic lands. However, integrated studies such as these do not exist for the Netherlands. For example, there is almost no discussion outside of Belgium and Northern Germany of Jacques Dubroeucq or Cornelis Floris, two of the most influential artists of the mid-16th century. Floris’s tombs and epitaphs became prototypes for funerary monuments across much of Northern Europe, even before his decorative style and designs were disseminated through his print series. His manner was so widely emulated that the term ‘Floris Style’ has become a cliché in discussions of art around the Baltic.
What actually comprised sculpture is not self-evident. We tend to think of sculpture as representing the human figure—making the statue paradigmatic for the medium. Yet this was hardly the sculptor’s exclusive task. Micro-architecture, which embedded figures or narrative scenes within an encompassing architectural structure, was a common project. Many statues preserved today stood originally in the cases of altarpieces, the aediculae of tombs, the lofts of jubés, the towers of sacrament houses, or the ends of choir stalls. The most revered sculptors were fully conversant with architectural conventions, and several worked as nominal architects. The intersection between sculpture, architecture, and ornament is a critical field for investigation. In addition, the various media cannot be easily separated. Painting, in fact, was usually a part of sculpture; polychromy was essential to its effect and could easily cost as much as the carving. Moreover, the importance of sculptural decorations in bronze and brass from the Southern Netherlands is reflected in the depiction of shiny brass items in many contemporary religious paintings from the 15th and 16th centuries.
Many forms of sculpture relate to current issues in Early Modern studies. Magnificent tombs were principal instruments of self-fashioning by rulers and the high nobility. The famous carved altarpieces of Antwerp and Brussels helped guide devotional practice. The alabaster relief became one of the prime narrative genres of Netherlandish art and an important index of the vogue for the Antique. Ivory carving, which developed considerably in the Southern Netherlands after the collapse of French ivory production during the Hundred Years War, as well as small boxwood devotional statuettes and prayer beads, were instrumental in the development of collecting and the pre-history of the independent aesthetic object.
Choir stalls structured human presence and behavior in ways the supported the requirements of clerical life. And statues were central to the cult of saints and commonly triggered iconophobia, which flared so spectacularly in the Beeldenstorm of 1566 and later riots. Sculpture was instrumental in constructions of gender, in forming early conceptions of materiality, in devising approaches to visual narrative, and in constructing notions of ‘realism’ or ‘naturalism’. In addition, the extensive emigration of Netherlandish sculptors after mid-century, and their transformative role in their adoptive lands, prompt discussion of concepts such as ‘cultural transfer’ or ‘cultural conversion’ and even issues of nationhood and Netherlandishness. We are particularly interested in essays that address the relation of sculpture to larger social and cultural issues. We also encourage prospective authors to examine connections with painting and other media.
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. 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 March 2016. Selection of proposals will take place in March and April 2016. The deadline for submission of the full articles for consideration and editorial comment is 1 September 2016. 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 300-500-word abstract and a short CV, should be sent to:
Ethan Matt Kavaler (firstname.lastname@example.org)
Frits Scholten (email@example.com)
Joanna Woodall (firstname.lastname@example.org)
Deadline: 1 March 2016
Deadline first draft full article: 1 September 2016
Deadline final draft: 1 January 2017
The Rijksmuseum Fellowship Program
The Rijksmuseum operates a Fellowship Program for outstanding candidates working on the art and history of the Low Countries whose principal concern is object-based research. The aim of the programme is to train a new generation of museum professionals: inquisitive object-based specialists who will further develop understanding of art and history for the future. The focus of research should relate to the Rijksmuseum’s collection, and may encompass any of its varied holdings, including Netherlandish paintings, sculpture, decorative arts, prints, drawings, photography and historical artefacts. The purpose of the programme is to enable applicants to base part of their research at the Rijksmuseum, to strengthen the bonds between the universities and the Rijksmuseum, and to encourage the understanding of Netherlandish art and history. The programme offers students and academic scholars access to the museum’s collections, library, conservation laboratories and curatorial expertise.
The Rijksmuseum Fellowship Programme provides opportunities for recent graduates (at the Master’s level), as well as doctoral and post-doctoral candidates. The programme is open to candidates of all nationalities and with varied specialisms. They may include art historians, curators, conservators, historians and scientists. Candidates should have proven research capabilities, academic credentials and excellent written and spoken knowledge of two languages (English and preferably Dutch or German). Fellowships will be awarded for a duration ranging from 6-24 months, starting in the academic year 2016-2017. Please review the Rijksmuseum website for detailed information on each individual Fellowship position.
Fellowship stipends are awarded to help support a Fellow’s study and research efforts during the tenure of their appointment. The stipend amount varies by funding source and Fellowship period. Visit the Rijksmuseum website for further information.
Application and procedure
Please review the eligibility, funding and application requirements by visiting the Rijksmuseum website. For the 2016-2017 academic year, candidates can apply for:
• The Andrew W. Mellon Fellowship for art historical research
• The Johan Huizinga Fellowship for historical research
• The Migelien Gerritzen Fellowship for conservation research
• The Manfred & Hanna Heiting Fellowship for photo-historical research
The closing date for all applications is March 13, 2016, at 6:00 p.m. (Amsterdam time/CET). No applications will be accepted after this deadline. All applications must be submitted online and in English. Applications or related materials delivered via email, postal mail, or in person will not be accepted.
Selection will be made by an international committee in April 2016. The committee consists of eminent scholars in the relevant fields of study from European universities and institutions, and members of the curatorial and conservation staff of the Rijksmuseum. Applicants will be notified by 1 May 2016. All Fellowships will start in September 2016.
For questions concerning the application procedure, contact Marije Spek, Coordinator of the Fellowship Programme (email@example.com), +31 (0)20-6747395.
University of Groningen
Announcing a PhD position in the Department of History of Art & Architecture, University of Groningen
Harvard Art Museums
Job Title: Stanley H. Durwood Foundation Curatorial Fellow, Division of European and American Art
Stipend: $50,000.00 per year
FTE: 100% This is a term position. Term duration: 1 year, with possibility of renewal
SummaryThe Curatorial Fellowship Program at the Harvard Art Museums is designed to broaden the experience of scholars embarking on professional and academic careers in art history who are considering the museum profession. Duties and Responsibilities:
- The Stanley H. Durwood Foundation Fellow conducts object-based research and scholarship focused on the extensive collections of the Harvard Art Museums, with a preference for 17th century Dutch drawings. Under the supervision of the Maida and George Abrams Associate Curator of Drawings, the Fellow researches and writes entries on Dutch drawings–an area of the collection that is particularly rich and distinguished–for the online catalogue. The Fellow is also given the opportunity to carry out research on Dutch works from the permanent collection in other media.
- The Curatorial Fellow assists with a broad range of other curatorial activities, including preparation of interpretive materials, curation of museum displays and exhibitions, cataloguing of the permanent collection in the Art Museums’ database, and donor cultivation.
- Foregrounding the museum’s teaching and research mission, the Curatorial Fellow helps provide content expertise for the Art Museums’ Art Study Center by supporting classes and individual appointments six hours a week, and contributes to a rich offering of public and academic interpretive programs across various platforms.
- The Fellow may supervise students and temporary employees.
MA in Art History with specialization in Dutch Art
- PhD preferred, with specialization in Dutch Art from the 15th century to the early 20th century
- Curatorial or related experience
- Written and spoken proficiency in Dutch required
- Commitment to fostering the appreciation of works of art in a museum context
- Excellent organizational, interpersonal, and communication skills; ability to work independently as well as collegially
A complete application includes a letter of interest, résumé or curriculum vitae, transcript, English-language writing sample, and three letters of recommendation. Complete applications will be reviewed beginning on March 1, 2016 until the position is filled.
- Please apply online with letter and curriculum vitae HERE [click on this link while hitting the ‘control’ key]. Please upload transcript, and one article-length, English-language writing sample.
- Please ask references to send letters of recommendation to the following address firstname.lastname@example.org (please note that the letters of reference will be verified).
If above hyperlink does not work, please go to the link below and search openings for Auto req ID “38363BR”:
We are an equal opportunity employer and all qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability status, protected veteran status, gender identity, sexual orientation or any other characteristic protected by law.
The Department of Art History of the University of Amsterdam will start a new two-year MA program Arts of the Netherlands, in active collaboration with the Rijksmuseum, the Mauritshuis, the Van Gogh Museum, the Royal Museum of Fine Arts Antwerp and many other museums and cultural and heritage institutions in the Netherlands and Flanders. The program will commence in September 2016.
Arts of the Netherlands is dedicated to the study of the artistic tradition of the Low Countries from circa 1400-1900 and comprises the fields of Early Netherlandish Art, Dutch and Flemish Art of the Golden Age and modern art from the 19th and early 20th Centuries. This research driven program will accommodate a maximum of 15 outstanding students per year, who will be selected on the basis of merit. Arts of the Netherlands is committed to an international perspective and will be taught in English. The program is targeted primarily towards students who aspire to an academic or museum career.
The information about the new program and the link to the application page are now online:
The rolling admission process is now open. The application deadline is May 15, 2016, but students are encouraged to apply at their earliest convenience.
The program will be introduced during an information meeting for students on Thursday, February 18, from 5 to 6 pm, at the P.C. Hoofthuis, Spuistraat 134, in Amsterdam. Applicants can also contact the program coordinator, Prof. dr. Hugo van der Velden, for questions or further information about the curriculum (email@example.com).
The Knowledge of the Curator. New Directions in Art History & Curatorial Practice
University of Groningen, July 17-23, 2016.
Application deadline May 1, 2016.
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
New York, Columbia University
Dutch language-course for Graduate Students (tuition-free), Columbia University, June 2016
Applications are invited for a three-week summer course, consisting of a 2-week class in modern Dutch for reading knowledge, and a 1-week workshop in early modern Dutch/paleography, each section of which can be taken separately. The course is free-of-charge. Funding has been provided through the Queen Wilhelmina Professorship at Columbia University and by the University of Amsterdam.
The course has two distinct sections, and students may apply to either or both. A single letter of application will suffice for any section(s) of the course, but applicants should be sure to include the appropriate supporting materials for the particular section(s) of the course to which application is being made.
APPLICATIONS FOR ALL SESSIONS ARE DUE MONDAY, March 14, 2016
- two weeks of Modern Dutch for Reading Knowledge (Weeks I & II (June 7 - 10 & June 14 - 17)
- one week of 17th-century Dutch/paleography [(Week III (June 21 - 24)]
Descriptions of the courses and requirements for admission to each section
Week I & II: Modern Dutch for Reading Knowledge
This section will cover reading skills, grammar and vocabulary in modern Dutch.
Open to all students with the equivalent of 2 semesters or more of Dutch or 4 semesters of German at the university level. Students must submit transcripts showing their successful completion of required coursework or other evidence of competence in the language. Preference will be given to students enrolled in a PhD program.
Students who have participated in this summer course in the past are invited to apply again, but preference will be given to new students.
Students who are unsure if their level of Dutch is satisfactory should contact Ms. de Groot to arrange an evaluation (email@example.com).
Week III: 17th-century Dutch texts/paleography workshop
The workshop will cover reading strategies of 17th-century printed and handwritten texts.
Open to all students with the equivalent of 3 semesters or more of Dutch or 2 full years of German at the university level. Students must submit transcripts showing their successful completion of required coursework, or other evidence of competence in the language. In addition, students should submit a letter of application explaining their reason for registration. Preference will be given to students enrolled in a PhD program.
Students who have participated in this summer course in the past are invited to apply again, but preference will be given to new students.
All applications, along with supporting documents, should be emailed to Wijnie de Groot at firstname.lastname@example.org. They are due March 14, 2016. Inquiries should also be directed to Ms. de Groot at that 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 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).
Art, Reformation, and the Cult of Martin Luther
Herzog August Bibliothek, Wolfenbüttel, July 4 - 15, 2016.
Deadline: Feb 28, 2016
40th International Wolfenbüttel Summer Course
40. Internationaler Wolfenbütteler Sommerkurs
Convenor: Jeffrey Chipps Smith (University of Texas, Austin)
2017 will mark the 500th anniversary of Martin Luther’s posting of his
ninety-five theses on the Palace Church in Wittenberg. This action by a
then relatively obscure Augustinian monk and university professor
heralded the be-ginning of the Protestant Reformation and the
cataclysmic division of Christianity first in Europe and then around
the world. Scholarly conferences and museum exhibitions, many loosely
linked under the umbrella Luther 2017 – 500 Jahre Reformation
(www.Luther2017.de), have occurred with growing frequency during the
lead up to the jubilee year. German state tourist boards promote
travel, indeed a form of cultural pilgrimage complete with
itin-eraries, to the towns where Luther lived and preached. Schloss
Hartenfels in Torgau and the Palace Church in Wittenberg, among other
Luther-related buildings, have been restored at great expense. Luther’s
face is literally the face of the Reformation in the accompanying flood
of publications and publicity.
This course focuses on the complex relationship of art and the
Protestant Reformation in Germany and, to a lesser degree, in the Low
Countries. The first week addresses the impact of the Reformation on
art and, its corollary, the impact of art on the Reformation during the
sixteenth century. Using the rich collections of the Herzog August
Bibliothek, the class will discuss the role of religious art on the eve
of the Reformation, the creation of polemical prints demonizing the
Catholic Church, iconoclasm as both destructive force and catalyst for
change, Lucas Cranach the Elder and the rise of Lutheran art and new
iconographic themes, and the impact of Calvinism on Netherlandish art.
The class will visit the Marienkirche (1608-22) in Wolfenbüttel, one of
the first monumental new and richly decorated Lutheran churches.
The second week considers how Martin Luther and the advent of the
Reformation were memorialized in the art of later centuries. We begin
with an introduction to the historical Luther. Prints, broadsheets,
medals, and other types of art were created to celebrate the first
Luther Jubilee in 1617. Such commemorations, especially those tied with
1517 or the reformer’s birth (1483) and death (1546) dates, have
inspired artists up to the present. The class will examine the cult of
Luther and some of its artistic manifestations, from the monumental
nineteenth-century bronze statues in Worms, Wittenberg, and Dresden to
Ottmar Hörl’s 800 colorful plastic mini-Luthers that were displayed in
Wittenberg’s Markt in 2010. The course will conclude with a discussion
about the artistic, religious, and political aims of the current
plethora of recent and upcoming Luther/ Reformation exhibitions.
Mornings will be devoted to presentations and workshops led by senior
scholars in the field. Key readings will be circulated in advance. In
the afternoons participants will be able to use the library holdings
for their own work. There will be opportunities for individual and
group discussions with those teaching the course. Students will be
invited to present on aspects of their own research. Nearby field trips
also may be scheduled.
• Dr. Dagmar Eichberger (University of Trier/University of Heidelberg)
• Dr. Thomas Eser (Germanisches Nationalmuseum, Nuremberg)
• Dr. Lyndal Roper (Oxford University)
• Dr. Corine Schleif (Arizona State University)
The call for application is addressed to masters and doctoral students
from Germany and any other country. The seminars will be conducted in
English. The materials for study will be in either German or English
but the key texts for each session will be in English.
The library offers up to fifteen places for participants and will cover
their expenses for accommodation and breakfast. Each participant will
receive a subsidy of 100 Euros to cover living costs. Participants are
expected to pay their own travel expenses.
There are no application forms. Applicants should state their reasons
for wishing to participate in the course and send a c.v. describing
their academic career and their current research. Please also supply
the address of an academic referee who may be contacted to provide a
reference if needed. The deadline is 28 February 2016. Applications
should be submitted, preferably by email, to:
Dr. Volker Bauer
Herzog August Bibliothek
Postfach 13 64
Fax-Nr.: +49 5331 – 808 266