Conferences 2015

7 November 2015, Hunter College, CUNY, New York. [wpex more=”Read abstract” less=”Close abstract”] The Association of Print Scholars (APS) is pleased to announce a symposium to support new critical ideas and research about printmaking. The event will occur during Print Week in New York, which includes major events such as the IFPDA Print Fair, the E/AB Fair and more. This conference seeks to investigate the relationship between specific technical choices made by printmakers, printers, or publishers in order to rethink more broadly the relationship between process, material and meaning in the graphic arts. We seek papers that focus on a wide range of chronological periods and geographic locations in order to highlight overarching methodological issues.

Questions under consideration:
– How can technical analysis aid in understanding artists’ strategic decisions, including their use of printmaking within a larger multimedia practice?
– What can conservation science tell us about the life and contemporary importance of a print?
– How has print scholarship grown beyond connoisseurship, towards a more holistic account of engagement with the viewer?
– How does the transfer of information from the matrix to the receiving surface affect the resulting imagery and its significance?

The symposium is organized by Maeve Coudrelle (Tyler School of Art, Temple University), Allison Rudnick (The Graduate Center, CUNY and The Metropolitan Museum of Art), Britany Salsbury (RISD Museum), and Christina Weyl (Independent Scholar). More information.[/wpex]

30-31 October 2015, Allentown Art Museum of the Lehigh Valley, Allentown, PA. [wpex more=”Read abstract” less=”Close abstract”] Organized by Lafayette College and the Allentown Art Museum and sponsored by the Samuel H. Kress Foundation, the workshop will be introduced and led by Piero Baglioni, a pioneer of cutting-edge, nano-based art conservation technologies, who is the director of the CSGI (Center for Colloids and Surface Science) at the University of Florence. Dianne Dwyer Modestini, Senior Research Fellow and Paintings Conservator for the Samuel H. Kress Program at the Conservation Center of the Institute of Fine Arts, is the keynote speaker. We are inviting poster presentations and discussion from participants. More information. [/wpex]

19-21 October 2015, Rome, Accademia di Danimarca / Istituto Svedese di Studi Classici. [wpex more=”Read abstract” less=”Close abstract”]The scholarly interest in the art of the early nineteenth century has in recent years manifested itself not only in a wealth of academic publications, but also in a series of high-profile exhibitions. One focus has been on landscape painting during the Romantic period – its technical developments as well as its role as catalyst for ideas about nature and nation. The polemics following the 2013 Louvre exhibition De l’Allemagne showed that the interpretation of nineteenth-century art is not without consequence for the current discussion of modern European history. For Scandinavian and German artists, the views of southern Italy, and Rome in particular, had the appeal of the at once well-known and the foreign, a unique landscape where sublime vistas and enchanting local colour seemed to invite painters to contrast historical prominence with present insignificance. Country villages and the streets and squares of the cityscape were inhabited by the popolo, whose distinct otherness made it the ideal subject for genre painting. The uninterrupted presence in Rome of a colony of artists from the North, long personified by the towering figure of the sculptor Bertel Thorvaldsen, provided a sense of continuity and belonging. But at home patriotic arguments were raised against prolonged stays in Italy: Nordic painters should concentrate on Nordic subjects and landscapes. For this conference, organized jointly by the Swedish Institute and the Danish Academy in Rome, we invite papers on various aspects of the work of Nordic painters working in Rome and the Kingdom of Naples from the Restoration to the Risorgimento. In particular, we welcome original papers on various aspects of the work of Nordic painters working in Rome and the Kingdom of Naples from the Restoration to the Risorgimento. In particular, we welcome original contributions addressing artists’ formation, technique and networks; patronage, collecting and the art market; gender aspects; the relationship between art, Romanticism and national ideologies; landscape and genre as cultural constructions; notions of the Classical vs the Romantic and of nature and identity; notions of public and private nature; theory and practice of genre painting; political and religious sympathies and conflicts within the artistic community and the general role of the political history of the period; history painting between north and south; art and science; reception and historiography. Conference committee: Tiziano Antognozzi, Liliana Barroero, Giovanna Capitelli, Kristian Göransson, Martin Olin, Marianne Pade, and Adelaide Zocchi.[/wpex]

12 September 2015, Worcester Art Museum, Worcester, MA. [wpex more=”Read abstract” less=”Close abstract”]Throughout his brief career, the prolific and exceptionally productive Raphael relied on a network of collaborators to assist him in carrying out his altarpieces and smaller devotional images, frescoes, and architectural projects, and to realize the sculpture, tapestries, prints, and precious objects he designed. Some of Raphael’s collaborators, like Giulio Romano and Gianfrancesco Penni, were pupils and longstanding members of his workshop; others, like Timoteo Viti and Lorenzo Lotto, were friends or fellow artists who worked with the master briefly on a specific project. Expediency was often the motivation behind these short-term collaborations, as Raphael enlisted others to help him carry out a work that he was too inexperienced–or increasingly, too busy–to realize fully on his own, or that he abandoned in the course of his peregrinations that led him from Urbino to Perugia, Florence, and Rome. The symposium has been occasioned by the pairing of Raphael’s Small Cowper Madonna from the National Gallery of Art in Washington with the enigmatic Northbrook Madonna from the Worcester Art Museum. The latter work may be the product of such an artistic partnership, although the precise nature of the collaboration (if one was operating in this instance) has yet to be explicated. The works remain on display together in Worcester through September 27. Presenters included Linda Wolk-Simon, Sylvia Ferino-Padgen, Robert G. La France, Sheryl Reiss, Tom Henry, Lisa Pon, Robert Williams, and Paul Joannides. This symposium was generously supported by the Robert Lehman Foundation and the Samuel H. Kress Foundation.[/wpex]

3-5 August 2015, Southern Utah University, Cedar City, UT. [wpex more=”Read abstract” less=”Close abstract”] The 2015 annual meeting of the Rocky Mountain Medieval and Renaissance Association (RMMRA) will be held in conjunction with the Wooden O Symposium, sponsored by the Utah Shakespeare Festival and Southern Utah University. Click here for joint CFP. The RMMRA invites all approaches to the Middle Ages and Renaissance, welcoming scholars in a broad range of disciplines including history, literature, art history, music, and gender studies, with special consideration given to paper and panel proposals that investigate this year’s theme, “The Functions and Dysfunctions of the Medieval and Renaissance Family.”[/wpex]

24 June 2015, NUI Galway, Ireland. [wpex more=”Read abstract” less=”Close abstract”] The event is not necessarily for specialists but it will be of interest to a wide audience. The talks will be followed by a short discussion and Q&A session, and, then, at the end, there will be a reception based on Italian gastronomy products. This event will be associated with an exhibition of high definition images of Susini’s Anatomical Waxes. These are the only existing anatomical models among the ones produced at the La Specola Museum of Florence, which are signed and dated by the great wax modeler Clemente Susini. These masterpieces are the result of his intensive three year long cooperation (1803-1805) with the Sardinian Anatomist Francesco Antonio Boi. These original masterpieces are permanently exhibited at the Citadel of Museums of Cagliari, the Capital City of Sardinia. This event represents the first time in which all the images of the Cagliari Collection are exhibited outside Italy and this is a courtesy of the University of Cagliari. Talks include “ ‘I Love my Illness’ ”: The Strange Relation Between Literature and Medicine” by Paolo Bartoloni (NUI Galway), “Aspects of Illness in the Life and Work of Amedeo Modigliani” by Catherine O’Brien (NUI Galway), and “Anatomical Wax Modeling in Italy in the 18th-19th Centuries: Its Artistic and Scientific Value as Seen in the Collection of Cagliari” by Alessandro Riva (University of Cagliari and Museum of Susini’s Anatomical Waxes, Cagliari, Italy). The admission is free but we would strongly like to know how many people are coming to plan properly for the catering and for choosing the right lecture theatre. We therefore, kindly ask to register before 7 June 2015. More information.[/wpex]

17-19 June 2015, Siena, Italy. [wpex more=”Read abstract” less=”Close abstract”] Conference organized by Meredith College, SUNY Geneseo, and University of Portland. When Jorge Bergoglio became the first pope to choose the name Francis, it served as a reminder of Francis of Assisi’s profound effect on the world in the eight centuries since his death. During his lifetime, Francis challenged religious, social, and economic norms and helped reenergize a Church under assault. He founded the most popular religious order of the Middle Ages, and from the thirteenth century up to the present, Franciscans have attracted devotees from Assisi to Latin America and beyond. The program committee invites proposals for papers on any number of topics that consider the legacy of Francis and the Franciscans including: The history of the Franciscan order; The meaning and significance of Franciscan art in its medieval, Renaissance, Post-Reformation, and modern contexts; Francis’ legacy of interfaith dialogue and peacemaking; Female orders of Franciscan nuns, including the Poor Clares and Clarissan Nuns; Francis’ economic, social, and environmental views and their legacy; Franciscan spirituality, poverty, or the teaching of St. Francis to modern audiences. This conference is open to scholars from all academic disciplines, including history, art history, literature, English, theology, philosophy, Church history, and environmental studies. The conference will be held in Siena at the Siena School for the Liberal Arts. It will include keynote lectures by William Cook (Distinguished Teaching Professor of History, Emeritus, SUNY Geneseo) and Ron Herzman (Distinguished Teaching Professor of English, SUNY Geneseo). For more information, please click here.

Organizing committee:
Bradley R. Franco (University of Portland)
Weston Kennison (SUNY Geneseo)
Beth Mulvaney (Meredith College)
Mario Ascheri (UniversitĂ  Roma 3)[/wpex]

15-17 June 2015, Center for Medieval and Renaissance Studies, St. Louis University, St. Louis, MO. [wpex more=”Read abstract” less=”Close abstract”]The Third Annual Symposium on Medieval and Renaissance Studies is a convenient summer venue in North America for scholars to present papers, organize sessions, participate in roundtables, and engage in interdisciplinary discussion. The goal of the Symposium is to promote serious scholarly investigation into all topics and in all disciplines of medieval and early modern studies. The Symposium is held annually on the beautiful midtown campus of Saint Louis University. On campus housing options include affordable, air-conditioned apartments as well as a luxurious boutique hotel. Inexpensive meal plans are also available, although there is a wealth of restaurants, bars, and cultural venues within easy walking distance of campus. While attending the Symposium participants are free to use the Vatican Film Library, the Rare Book and Manuscripts Collection, and the general collection at Saint Louis University’s Pius XII Memorial Library.

The plenary speakers for 2015 will be Kenneth Pennington, of Catholic University of America, and Ingrid Rowland, of the University of Notre Dame.

The Third Annual Symposium on Medieval and Renaissance Studies invites proposals for papers, complete sessions, and roundtables. Any topics regarding the scholarly investigation of the medieval and early modern world are welcome. Papers are normally twenty minutes each and sessions are scheduled for ninety minutes. Scholarly organizations are especially encouraged to sponsor proposals for complete sessions. Decisions will be made in January and the final program will be published in February. For more information or to submit your proposal online please visit the symposium website.[/wpex]

17 June 2015, Compton Verney, Warwickshire. [wpex more=”Read abstract” less=”Close abstract”] Compton Verney holds one of the richest collections of Neapolitan art in the world outside of Naples, but it is little known and little studied.  This event turns the spotlight of scholarship onto the collection in relation to important new research on Naples, focused on issues of colonialism within Europe, telluric philosophy, skin and surfaces. Papers will be presented by Helen Hills, Joris van Gastel, Letizia Treves, Josephine Neil and Bogdan Cornea. It is hoped that gallery visits will be conducted by PhD students from WRoCAH (White Rose College of the Arts & Humanities). More information.[/wpex]

15-16 June 2015, Rome.  [wpex more=”Read abstract” less=”Close abstract”] Epistolary correspondence among artists is a privileged source to unravel the dynamics of intellectual exchange across regional and national boundaries, as it requires a research agenda necessarily focused on ‘mobility’, and a transnational approach and methodology avoiding the rhetorical pitfalls of past European historiography. By focusing on the cosmopolitan context of 18th- and 19th-century Rome as a paradigmatic field of enquiry, the research network ‘Artistic Correspondences: Rome and Europe in the 18th and 19th centuries’ aims to recast epistolary exchanges among artists as an inescapable source of information on the transnational circulation of a shared stock of artworks, people, books, models, technical and critical skills across Europe. The organizing research team would like to meet other academics and research groups working on the same topic in order to explore new opportunities of collaboration at a European level.

The workshop to be held in Rome, 15-16 June 2015, is intended to explore new forms of research collaboration and dissemination of sources (e.g. networks, databases, digital repositories, etc.). The ultimate goal of the workshop is to initiate a debate leading to the construction of a digital platform of artists’ correspondences in the modern era. The workshop endorses a synchronic and diachronic approach to the study of artistic correspondences that will enable the mapping of geographical trajectories and cultural exchanges.

Conference Committee:
Serenella Rolfi (Dipartimento di Studi Umanistici, Università di Roma TRE), Giovanna Capitelli (Dipartimento di Studi Umanistici, Università della Calabria), Susanne Adina Meyer (Dipartimento di Scienze della formazione, dei beni culturali e del turismo, Università di Macerata), Ilaria Miarelli Mariani (Dipartimento di Lettere, Arti e Scienze Sociali, Università di Chieti), Christoph Frank and Carla Mazzarelli (Istituto di Storia e Teoria dell’arte e dell’architettura, Università della Svizzera Italiana), Maria Pia Donato (CNRS Institut d’Histoire Moderne et  Contemporaine). With the cooperation of KNIR, Koninklijk Nederlands Instituut Rome and of the Svenska Institutet i Rom. [/wpex]

15 May 2015, Center for Modern Italian Art, New York.  [wpex more=”Read abstract” less=”Close abstract”] A Study Day on the sculptor Medardo Rosso (1858-1928), the subject of the foundation’s 2014-15 season. This program offers the opportunity to explore various facets of the artist’s career and practice, focusing in particular on his experimental photographic practice and on his relations with his French contemporaries, especially Rodin and Degas. Speakers include Lindsay Harris (American Academy in Rome), Ilaria Barzaghi (CIMA Fellow), Laura Mattioli (CIMA), Francesca E. Benini (Museo Cantonale d’Arte, Lugano), Francesco Stocchi (Museum Boijmans Van Beuningen, Rotterdam), David Getsy (School of the Art Institute of Chicago), Flavio Fergonzi (UniveristĂ  degli Studi di Udine), Ilaria Cicali (CIMA Fellow), Richard Kendall (Clark Art Institute), and Jodi Hauptman (MoMA). More information. [/wpex]

7 May 2015, Florence, Italy. [wpex more=”Read abstract” less=”Close abstract”]The 3rd annual Jane Fortune Conference organized by the Medici Archive Project and hosted by the British Institute in Florence will examine in depth the recent findings on baroque artist Artemisia Genitleschi. Full information can be found on the conference website.[/wpex]

28 April 2015, American Academy in Rome, Italy. [wpex more=”Read abstract” less=”Close abstract”] A conference sponsored by the Getty Foundation’s Connecting Art Histories Initiative and the American Academy in Rome.

9:00 am: Welcome and Introduction from the Co-directors Kimberly Bowes, American Academy in Rome, and William Tronzo, University of California San Diego: “When — if ever — will a history of Mediterranean art and archaeology be possible?”

9:30 am: Silvia Armando, Metropolitan Museum of Art: “Oriented Words: Shifting Categories and Mutable Lexical Choices at the Dawn of Islamic Art Studies”

10:00 am: Francisco J. Moreno Martin, Universidad Complutense de Madrid: “The Treasure of Guarrazar: The Ideological Use of Visigothic Archaeology and Art from the 19th century onwards”

11:00 am: Dina Bakhoum, American University of Cairo: “The ComitĂ© de Conservation des Monuments de l’Art Arabe in Context”

11:30 am: Ruggero Longo, Università degli Studi della Tuscia, Viterbo: “Idealizing Medieval Mediterranean? Creation, Re-creation and Representation of Arab-Norman Sicily”

noon: Judith Bronstein, University of Haifa: “Zionism, Israel Crusader Past and Archaeological Remains”

2:45 pm: Trpimir Vedriơ, University of Zagreb: “The Baptismal Font of Duke Viơeslav: A Case Study in the History of Reception and Formation of Croatian National Identity (c.1853 – c.2013)”

3:15 pm: Magdalena Skoblar, The British School at Athens/The British School at Rome: “Repurposing the Virgin: How an Early Medieval Sculpture Became a Modern-Day Croatian Icon”

3:45 pm: Solinda Kamani, University of Kent, “Archaeology and the Construction of National Identity in Communist Albania”

5:00 pm: Nikolas Bakirtzis, Cyprus Institute: “Medieval Fortifications as Heritage: The Cases of Nicosia and Rhodes”

5:30 pm: Erica D’Amico, University of Richmond, Rome: “How the ‘Byzantine Past’ is Used in Archaeological Perspective: A Case Study in Venice and the Veneto region”

6:00 pm: Moheddine Chaouali, Insitut National du Patrimoine, Tunisia: “L’Afrique du Nord byzantine Ă  la lumiĂšre des dĂ©couvertes archĂ©ologiques rĂ©centes”[/wpex]

24 April 2015, 10 am-1 pm, Morgan Library & Museum, New York. [wpex more=”Read abstract” less=”Close abstract”] Keynote Address: David Ekserdjian, Professor of Art and Film History, University of Leicester. This symposium is devoted to the role of drawing in the creative process, considering the practice of artists in the sixteenth and seventeenth centuries.  Papers will address different aspects of invention by looking at a variety of drawings, ranging from first sketches to more developed compositional studies. Papers will be delivered by Aimee Ng, Mary Vaccaro, Stijn Alsteens, and Joachim Jacoby. To register, please contact the Drawing Institute.[/wpex]

23 April 2015, Center for Modern Italian Art, New York. [wpex more=”Read abstract” less=”Close abstract”] CIMA presents a study day on Alfred Barr (1902-81), the first director of the Museum of Modern Art, and Margaret Scolari Barr (1901-87), art historian and author of the first book in English on Medardo Rosso, who played a crucial role in introducing modern Italian art to the United States. Speakers include Elena Cordova (MoMA Archives), Nicholas Fox Weber (Josef and Anni Albers Foundation), Raffaele Bedarida (Graduate Center, CUNY), Davide Colombo (University of Milan; Terra Foundation Fellow), and Francesco Guzzetti (Scuola Normale, Pisa; CIMA Fellow). More information. [/wpex]

24-25 April 2015, University of Chicago. [wpex more=”Read abstract” less=”Close abstract”]

Keynote Address: Dr. Giuseppe Mazzotta, Sterling Professor of Humanities for Italian, Yale University; Closing Address: Dr. Hendrik Dey, Professor of Art History, Hunter College. The students of the Department of Romance Languages and Literatures in the specialization of Italian and the Department of Art History at the University of Chicago present an interdisciplinary graduate student conference.

The motto “Love conquers all” has become ubiquitous for love’s ability to overcome all obstacles, physical as well as psychological, that impede the union of two lovers. However, in its original context “amor vincit omnia” in Virgil actually refers to love’s ability to destroy both the lover and the beloved; the speaker of this phrase, Gallus, immediately kills himself after its declaration. The destructive nature of love has been addressed by Italian artists and writers from antiquity to modern times. Virgil’s depiction of Dido, Bernini’s Apollo and Daphne, Dante’s Paolo and Francesca, Verdi’s Aida, and, more recently, Fellini’s Cabiria and De Chirico’s Ariadne all explore love’s disastrous consequences. This conference aims to explore the varieties of representation of sorrowful love and its evolution over time; new understandings that can be gleaned from a variety of evidence; and dialogue and divergence between portrayals of tragic Italian love across the Humanities.[/wpex]

22-24 April 2015, Oaxaca, Mexico. [wpex more=”Read abstract” less=”Close abstract”] This conference, organized by the Instituto de Investigaciones EstĂ©ticas, UNAM and Villa I Tatti, examines the Italian Renaissance from Latin American perspectives. Scholars from many countries and disciplines explore how Renaissance ideas and knowledge were transferred, used, examined, assimilated or rejected in Latin America, from the 16th century to the present. Most studies of the Renaissance that address what is now known as Latin America have focused on European perspectives. This research explores how European visions and conceptions of the world were changed by the discovery and occupation of a new continent, an area that presented an unknown and immense territory of geographies, civilizations, and objects. This conference aims to draw attention to Latin American views on the Renaissance, broadly defined as the period ranging from the 13th to the 17th centuries, and to examine the distinctive and original transformations of the Renaissance in Latin America. More information.[/wpex]

9-11 April 2015. AAH Annual Conference, University of East Anglia, Norwich. [wpex more=”Read abstract” less=”Close abstract”]In Trecento Italy Giotto di Bondone was working on major commissions in Florence whilst buying property and conducting complex business transactions in the rural Mugello. Michelangelo, as recently published documents show, also accumulated wealth from a variety of sources in addition to his art. In sixteenth century Northern Europe DĂŒrer exemplified the spirit of commercial enterprise by employing agents to sell his engravings and find new markets for his works all over the Netherlands. Less commonly women artists made economic contributions to family workshops. The commercial astuteness of the engraver and printmaker Diana Scultori, who held a Papal Privilege allowing her to sign and market her work, is a notable example. Artists were ambitious and money mattered. The economic interaction between artists, patrons, institutions and ideologies in Europe 1300 -1600 is the focus of ongoing critical study, including recent exhibitions exploring the influence of bankers, merchants and international trade on art and artists. This session encourages a multidisciplinary approach to debate the idea of the artist as businessman or woman. It will consider the ways in which artists were developing and exploiting networks of wealthy patrons and producing works which engaged with changing and often controversial economic discourse. Please contact session organizers Jill Harrison and Vicky Ley for information. [/wpex]

10 January 2015, The Frist Center for the Visual Arts, Nashville. [wpex more=”Read abstract” less=”Close abstract”]In conjunction with Sanctity Pictured: The Art of the Dominican and Franciscan Orders in Renaissance Italy, a groundbreaking exhibition of Italian art made between 1250 and 1550. Conceived and organized by Frist Center Curator and Renaissance art historian Trinita Kennedy, it explored the significant role of the Dominicans and Franciscans in the revival of the arts that began in Italy in the thirteenth century and shows how these orders fueled the creation of some of the most splendid works of Italian Renaissance art and architecture. On view through January 25, 2015, Sanctity Pictured was the first major exhibition to examine the art of the two great orders together during the period in which they were at the height of their power in Italy and had its leading artists in their service. The exhibition was the first major presentation of Italian Renaissance art in Nashville since 1934, when selections from the Samuel H. Kress collection were shown at the city’s historic replica of the Parthenon. The exhibition brought together more than sixty works of art, in media ranging from painting and manuscript illumination to bronze medals and printed books. Among the highlights were the Vatican Museums’ Saint Francis with Four Post-Mortem Miracles, the J. Paul Getty Museum’s Abbey Bible and dramatic painting Saint Catherine of Siena Receiving the Stigmata by Domenico Beccafumi.Twenty-eight American museums and libraries, including the Art Institute of Chicago, the J. Paul Getty Museum, the Metropolitan Museum of Art, National Gallery of Art, and Pierpont Morgan Library lent works to the exhibition. For the first time in its history, the Frist Center borrowed works from the Vatican Library and Vatican Museums. The Frist Center was the exclusive venue for Sanctity Pictured. Among the extensive schedule of public programming, the Frist Center held an all-day public symposium on Saturday, January 10, 2015 in the Frist Center auditorium. The speakers, in addition to Frist Center curator Trinita Kennedy, were Donal Cooper, University of Cambridge; Holly Flora, Tulane University; Anne Leader, Independent Scholar; and Christine Sciacca, J. Paul Getty Museum. For more information and a listing of public programs, please see the press release online. [/wpex]

24 January, Paris, Institut national d’histoire de l’art (INHA), Galerie Colbert, 2 rue Vivienne 75002. International study day Saturday, 24 January, 10:30-18:00. [wpex more=”Read abstract” less=”Close abstract”] L’Ɠuvre de Carlo Scarpa, mort en 1978, domine la production architecturale de ce siĂšcle en Italie et au-delĂ . Elle est une source d’inspiration pour nombre d’artistes, d’architectes, de designers contemporains. Architecte, auteur d’édifices aujourd’hui mythiques comme la Tombe Brion, designer rĂ©putĂ©, il fut aussi un maĂźtre dans l’art d’exposer. Qu’il s’agisse de galeries, de « displays » temporaires ou de musĂ©es, Scarpa est le plus Ă©clatant parmi ces architectes italiens qui, au XXe siĂšcle, ont rĂ©volutionnĂ© l’espace et les dispositifs d’exposition. Les espaces qu’il conçut pour l’exposition Mondrian de 1952 ou pour la Biennale de Venise dont il fut, jusqu’en 1972, l’architecte, dĂ©montraient son exceptionnelle intelligence de l’art, de sa jouissance et de sa mise en scĂšne. Aujourd’hui le musĂ©e de l’Accademia Ă  Venise, la GypsothĂšque de Canova Ă  Possagno, le musĂ©e Castelvecchio Ă  VĂ©rone ou le palais Abatellis Ă  Palerme tĂ©moignent de son gĂ©nie.

À l’occasion de la publication de Carlo Scarpa : L’art d’exposer de Philippe Duboy ( Lectures Maison Rouge » & JRP Ringier, 2015), la Maison Rouge et le sĂ©minaire international Something you Should Know
(EHESS) accueillent, samedi 24 janvier, Ă  l’ l’Institut national d’Histoire de l’Art, Ă  Paris, une journĂ©e d’études internationale: Carlo Scarpa et ses amis : l’art d’exposer. Elle accueillera, avec ceux qui l’ont connu et ont commentĂ© son Ɠuvre (Marisa Dalai Emiliani, Lucianna Miotto, Philippe Duboy), des artistes pour qui les dispositifs d’exposition de Scarpa sont une source de rĂ©flexion et d’inspiration : Dominique Gonzalez-Foerster, Dahn Vo, Josiah McElheny, Pierre Leguillon, Koenraad Dedobbeleer, mais aussi des historiens de l’art (Johanne Lamoureux, Lorenzo Benedetti) et des architectes  (Adrien
GardĂšre, Bernard et Clothilde Barto).

Programme :
10h 30 Accueil des participants
Ouverture de la journée par Johanne Lamoureux (INHA), Antoine de Galbert (Maison Rouge), Patricia FalguiÚres, Elisabeth Lebovici, Nataƥa Petreƥin-Bachelez (Something you should know, EHESS)

10h 45  Table-ronde : Carlo Scarpa par ses amis
Philippe Duboy, Marisa Dalai Emiliani (sous réserve), Lucianna Miotto,
Discussion : Johanne Lamoureux, Lorenzo Benedetto, Bernard et Clothilde

12h30  Déjeuner

14h 00  Projection de Une heure avec Carlo Scarpa (Maurizio Cascavilla & Gastone Favero, Rai 1972) (extrait).

14h 30  Josiah McElheny, The Vitrine Architect / L’architecte en vitrines

15h 30  Table – ronde : Aprùs Scarpa, quand l’exposition fait Ɠuvre Dominique Gonzalez-Foerster, Danh Vo, Koenraad Dedobbeleer, Adrien Gardùre. Pierre Leguillon, Diaporama: La Scala per Scarpa, Palerme, 2013.

Direction scientifique : Something you should know : artistes et producteurs (EHESS) et Philippe Duboy, architecte, professeur d’histoire de l’architecture et de l’urbanisme Ă  Ecole nationale supĂ©rieure d’architecture de Paris -La Villette. Avec le soutien de la Maison Rouge-Fondation Antoine de Galbert. Le sĂ©minaire “Something you should know: Artistes et producteurs” est soutenu par la FundaciĂłn Almine y Bernard Ruiz-Picasso para el Arte ([/wpex]

29 Jan-1 Feb 2015, Athens, GA. [wpex more=”Read abstract” less=”Close abstract”]The 2015 Southern Humanities Council Conference invites proposals for papers on the theme “Virtues and Vices; Desires, Devices.” The topic is interdisciplinary and invites proposals from all disciplines and areas of study, as well as creative pieces including but not limited to performance, music, art, and literature. (Please note that the name of our organization simply reflects its having been founded in the U.S. south; no presenter is expected to present anything “southern,” though southern topics are also welcomed. Conference attendees come from all over the United States and Canada.) Send proposals of 300-500 words by email to Mark Ledbetter or if sending by U.S. Postal Service, Mark Ledbetter, Executive Director, SHC, P.O. Box 2546, The College of St. Rose, 432 Western Avenue, Albany, NY 12203. If possible, send all proposals by email. Visit our website for more information. Topics are not limited to any one area and may integrate the theme in trans-disciplinary or interdisciplinary ways, that is, the paper may address Virtues and Vices; Desires, Devices from particular perspectives or a paper may address the integration of two or more dimensions of the theme. [/wpex]

9-10 February 2015, The Center for Modern Italian Art, New York, conference and study day organized by Sharon Hecker and Marin R. Sullivan. Sponsored by CIMA and the Italian Art Society. [wpex more=”Read abstract” less=”Close abstract”]2015 marks the thirty-year anniversary of curator Germano Celant’s The Knot, the 1985 landmark exhibition held at PS1 in New York, which introduced contemporary Italian art to American audiences. Yet despite the interest it generated in its time, only recently have scholars in the United States begun to consider postwar Italian art as a subject for study. Today, thanks to shows like the Tate Modern/Walker Art Center’s Zero to Infinity: Arte Povera 1962-1972, scholars on both sides of the Atlantic are increasingly turning their attention to study Italian art created after World War II. Italian archives are becoming more accessible, more primary texts have been translated into English, and a growing number of museum and gallery exhibitions, conferences and English publications in both the U.S. and the U.K. are beginning to fill the lacuna. With the passage of half a century, European and American scholars alike are using these venues to historicize and scrutinize the complex dichotomies that defined Italy during the period: from its dialogue with artistic and craft traditions of the past within the context of rapid industrialization, to the so-called “economic miracle” and the effects of American consumerism, to the mechanics of Italy’s desire to establish a particular kind of Italian Modernism that would also become internationally influential. The Italian national context that once appeared to Anglo-American scholars as provincial, homogenous, or retrograde is now considered a crucial art historical moment bursting with distinct artists, radical groups and tendencies, including Informale, Gruppo N, and Arte Povera, as well as artworks shaped by concurrent historical developments in science, industry, politics, literature, photography, architecture, design and film. A scholarly outlook on art created in Italy during the postwar period has now fully emerged in the U.K. and U.S., but its parameters and impact have yet to be assessed. This study day seeks to evaluate the current state of the field and to highlight alternative methodologies for future inquiry. Scheduled for February 10, 2015, the day prior to the opening of the College Art Association’s 103rd Annual Conference in New York, it will complement the IAS-sponsored session, “Di politica: Intersections of Italian Art and Politics since World War II,” chaired by Dr. Christopher Bennett and Dr. Elizabeth Mangini. Through brief paper presentations, ample discussion, and a respondent roundtable, the goal of the study day is to address and explore the most pressing issues, concerns, and questions driving postwar Italian art history on both sides of the Atlantic today. Are those concerns the same for Italian and non-Italian scholars of different generations? How do we take into account regional differences and, at the same time, questions of a unified national Italian identity? How did novel materials and the emergence of industrial design impact the visual arts in Italy and vice versa? What was new about art made in Italy during this time and what continued or was rephrased, reshaped and recycled (either critically or uncritically) from the immediate, Fascist or more distant past (for example, Futurism, or even further back, from the nineteenth century, the Renaissance, the Baroque, Medieval or Ancient periods)? While the primary focus of the conference is Italy and Italian artists between 1945 and 1975, we also welcome case studies—with an eye to methodology—that examine cross-cultural exchange, including the reception of Italian art internationally or the presence of foreign artists in Italy; the impact of international exhibitions such as the Venice Biennale; or the influence of the postwar generation on art being produced around the world today. Click here to see the program of speakers.[/wpex]

10 February, Rome, Galleria nazionale d’arte moderna (GNAM)
12 February, Milan, Galleria d’Arte Moderna (GAM) Giornate di studi. [wpex more=”Read abstract” less=”Close abstract”]

La grande sfida dell’arte italiana tra l’Unità e la Prima guerra mondiale ù quella di creare uno stile nazionale competitivo e riconoscibile a livello europeo. Le due giornate di studi intendono indagare gli sviluppi artistici italiani nei loro rapporti internazionali, analizzati nell’ottica di uno sguardo incrociato tra Oltralpe e Mediterraneo che metta in rilievo il ruolo di cerniera giocato dall’Italia nell’Europa del tempo, sia dal punto di vista geografico, sia culturale.


Galleria nazionale d’arte moderna, Sala del Mito

10.00 Apertura dei lavori

Maria Vittoria Marini Clarelli (Galleria nazionale d’arte moderna)
Jolanda Nigro Covre (“Sapienza” Università di Roma)
Maria Giuseppina Di Monte (Galleria nazionale d’arte moderna)

Sarah Kinzel (Humboldt-UniversitÀt zu Berlin / Bibliotheca Hertziana

10.30 Prima sessione: Premesse dell’arte post-unitaria

Loredana Finicelli (“Sapienza” Università di Roma)
La mostra del 1883 e il dibattito a margine sulla ricerca del
linguaggio artistico nazionale

Maria Saveria Ruga (UniversitĂ  di Pisa)
Pittori francesi a Roma visti da Sud: Ernest HĂ©bert, Paul Chenavard e
Michele Cammarano

11.20 Pausa caffĂš

11.35 Seconda sessione: Orientalismo

Ariane Varela Braga (UniversitĂ€t ZĂŒrich)
Un modello da seguire. La fortuna della Grammar of Ornament di Owen
Jones in Italia nella seconda metĂ  dell’Ottocento

Giusy Petruzzelli (Accademia di Belle Arti di Bari)
Italia porta d’Oriente. Il ruolo degli artisti Leonardo de Mango,
Salvatore Valeri e Fausto Zonaro a Istanbul

12.30 Pausa pranzo

14.00 Terza sessione: Il ruolo della critica

Paolo Bolpagni (UniversitĂ  degli Sudi eCampus)
Riflessi wagneriani nella teoria delle arti in Italia, dalla
Scapigliatura ad Angelo Conti

Maria Stella Bottai (“Sapienza” Università di Roma)
Vittorio Pica e la ricezione degli artisti nordici in Italia

Rosalba Cilione (Collaboratore Archivio Fondi Storici della GNAM)
L’idea di scultura moderna nella critica di Ugo Ojetti (1897–1914)

Simona Pandolfi (Collaboratore Archivio Fondi Storici della GNAM)
Il cézanismo nei testi critici di Carrà, Soffici e Ojetti

16.00 Pausa caffĂš

16.15 Quarta Sessione: Protagonisti e altre personalitĂ 

Manuel Barrese (“Sapienza” Università di Roma)
«Il principe ha fatto delle arti la sua occupazione e il suo culto».
Baldassarre Odescalchi tra fortunysmo e relazioni internazionali

Francesco Parisi (Accademia di Belle Arti di Macerata)
Roberto Basilici tra Monaco e Roma

Rosalia Pagliarani (“Sapienza” Università di Roma)
Da Grubicy al Futurismo, e ritorno: cultura figurativa e visione in
Romolo Romani

17.45 Conclusioni
Niccolo D’Agati (Università Cattolica del Sacro Cuore)

Ariane Varela Braga (UniversitĂ€t ZĂŒrich), Jolanda Nigro Covre
(“Sapienza” UniversitĂ  di Roma), NiccolĂČ D’Agati (UniversitĂ  Cattolica
del Sacro Cuore), Ilaria Schiaffini (“Sapienza” Università di Roma)

Galleria d’Arte Moderna, Sala da Ballo

10.00 Apertura dei lavori

Paola Zatti (Galleria d’Arte Moderna di Milano)
Francesco Tedeschi (UniversitĂ  Cattolica del Sacro Cuore)

Sarah Kinzel (Humboldt-UniversitÀt zu Berlin / Bibliotheca Hertziana

10.30 Prima sessione: Il primato dell’Inghilterra

Niccolo D’Agati (Università Cattolica del Sacro Cuore)
“A kind of high-class Pre-Raphaelism in marble”: la scultura della
Scuola di Milano e la critica inglese (1851-1865)

Giancarlo Brocca (UniversitĂ  del Salento)
Gli scultori italiani a Londra: il caso di Giovanni Battista Amendola

Arnika Schmidt (Technische UniversitÀt Dresden)
Nino Costa (1826-1903) – A Cosmopolitan Artist and his Fight for a
National Art

11.50 Pausa caffĂš

12.00 Seconda sessione: Echi del Nord tra Germania e Polonia

Chiara Fiaccadori (UniversitĂ  Cattolica del Sacro Cuore)
L’arte italiana a Berlino: Alessandro Rossi e Louis Friedrich Sachse

Sarah Kinzel (Humboldt-UniversitÀt zu Berlin / Bibliotheca Hertziana
Mario De Maria e l’arte tedesca verso il 1900

Jakub Zarzycki (Uniwersytet Wroc?awski / Imre-Kertesz-Kolleg (FSU,
L’artista polacco, l’artista russo (?), l’artista romano, l’artista
cosmopolita. Il caso di Henryk Siemiradzki (1843-1902)

13.30 Pausa pranzo

15.00 Terza sessione: Protagonisti e altre personalitĂ 

Thomas Renard (Université de Nantes)
Il nazionalismo cosmopolito di un critico d’arte tardo-ottocentesco:
Tullo Massarani (1826-1905) all’Esposizione universale di Parigi del

Manuel Carrera (“Sapienza” Università di Roma)
Giovanni Boldini e Antonio Mancini alle mostre della Society of
Portrait Painters

Monica Vinardi (UniversitĂ  degli Studi di Firenze)
Leonardo Bistolfi tra suggestioni moderniste e l’espressione di “una
comune lingua ideale”

16.20 Pausa caffĂš

16.35 Quarta sessione: Temi e tendenze

Eugenia Querci (“Sapienza” Università di Roma)
Influenze islamiche e ispano-moresche tra arte e collezionismo

Mario Finazzi (“Sapienza” Università di Roma)
Tra folla e individuo: suggestioni europee nelle opere degli artisti
italiani nel primo XX secolo

Matteo Piccioni (“Sapienza” Università di Roma)
Un aspetto della presenza degli artisti italiani a Parigi nel primo
Novecento: la collaborazione alle riviste satiriche

18.00 Conclusioni
Manuel Carrera (“Sapienza” Università di Roma)

Manuel Carrera (“Sapienza” Università di Roma), Elena di Raddo
(Università Cattolica del Sacro Cuore), Anna Rath (UniversitÀt Wien),
Francesco Tedeschi (UniversitĂ  Cattolica del Sacro Cuore)
Giornate a cura di Manuel Carrera (“Sapienza” UniversitĂ  di Roma),
NiccolĂČ D’Agati (UniversitĂ  Cattolica del Sacro Cuore) e Sarah Kinzel
(Humboldt-UniversitÀt zu Berlin / Bibliotheca Hertziana Roma)

Coordinamento di Jolanda Nigro Covre (“Sapienza” UniversitĂ  di Roma) e
Francesco Tedeschi (UniversitĂ  Cattolica del Sacro Cuore)

Per maggiori informazioni invia un email. [/wpex]

21 February 2015, Museum of Biblical Art, New York, NY. Held in conjunction with the exhibition Sculpture in the Age of Donatello: Renaissance Masterpieces from Florence Cathedral. [wpex more=”Read abstract” less=”Close abstract”]During this one day symposium, nine speakers will engage issues around Renaissance sculpture. These talks will both enrich the understanding of the objects on display and of the artists who created them, and also broaden the show’s horizons to encompass other chapters of the history of fifteenth-century Italian sculpture. Click here to register.

Opening Remarks 9:30 am
Morning Session: Thresholds 10:00 am

Robert Glass, University of Notre Dame
From Medieval Drollery to Classical Exemplum: Marginal Decoration on Church Portals in Florence and Rome around 1400 

Andrew Butterfield, Andrew Butterfield Fine Arts, LLC
Sculptors’ Models in Renaissance Florence 

Marietta Cambareri, Museum of Fine Arts, Boston
Luca della Robbia’s Istorie: the Duomo Lunettes and the Pistoia Visitation 

Lunch Break 11:45 am-1:15 pm

Afternoon Session I: Bodies and Space 1:15 pm

Peter Jonathan Bell, Metropolitan Museum of Art
Donatello and the Free-standing Statue 

David J. Drogin, State University of New York, Fashion Institute of Technology
The Body, Space, and Narrative in Early Fifteenth-Century Tuscan Sculpture 

Adrian W.B. Randolph, Dartmouth College
Sculpture and Violence: Abraham and Isaac by Donatello and Il Rosso 

Break 3:00-3:15 pm

Afternoon Session II: Beyond Florence Cathedral 3:15 pm

Lauren Jacobi, Massachusetts Institute of Technology
Fluidity and Fecundity: Metal, Money, and the Florentine Zecca 

Amy Bloch, University at Albany, State University of New York
Jacopo della Quercia: From the Baptistery Competition to the Fonte Gaia

Christina Neilson, Oberlin College
Between Touching and Seeing: Verrocchio’s Christ and St. Thomas as Material Aporia

Closing Remarks 5:00 pm [/wpex]

27-28 February 2015, Boston, MA. [wpex more=”Read abstract” less=”Close abstract”]Conflict generates and transforms many works of art and architecture, both inspiring their creation and shaping their legacies. The 31st Annual Boston University Graduate Student Symposium on the History of Art & Architecture explored visual and material manifestations of discord among individuals, groups, nations, or ideologies. The Symposium was held Friday, February 27 – Saturday, February 28, 2015, with a keynote lecture by Dr. Richard M. Leventhal, Executive Director of the Penn Cultural Heritage Center, at the Boston University Art Gallery at the Stone Gallery on Friday evening and graduate presentations on Saturday in the Riley Seminar Room of the Museum of Fine Arts, Boston. This event was generously sponsored by The Boston University Center for the Humanities; the Boston University Department of History of Art & Architecture; the Museum of Fine Arts, Boston; the Boston University Graduate Student History of Art & Architecture Association; and the Boston University Art Gallery at the Stone Gallery. For additional information, please visit our website. [/wpex]

6-7 March 2015, ZĂŒrich, Cabaret Voltaire. [wpex more=”Read abstract” less=”Close abstract”]Keynote speakers: Dr. Victor Buchli (University College London) Prof. Dr. Andrew Leach (Griffith University, Gold Coast, Australia) Prof. Dr. Michael Osman (UCLA, Los Angeles). The conference is co-organized by the Institute for the History and Theory of Architecture, ETH Zurich, the Institute of Art History, University of Zurich, and the Center History of Knowledge. It is supported by the Swiss National Science Foundation.[/wpex]

Back to Conferences & Lectures