SCSC Annual Conference, Bruges, Belgium, 18-20 August 2016

SCSC Annual Conference, Bruges, Belgium, 18-20 August 2016

In addition to a reception co-organized by the IAS at the Groeningemuseum on 19 August, the society also sponsored two sessions were at the recent SCSC Conference in Bruges.

Co-opetition: Testing the Bounds of Cooperation and Competition
Organizer: Alexis R. Culotta, American Academy of Art and the Art Institute of Chicago. [wpex more=”Read abstract” less=”Close abstract”]John von Neumann and Oskar Morgenstern’s landmark 1944 publication, Theory of Games and Economic Behavior, introduced the world to the economic field of Game Theory and proposed the principle of co-opetition. Originally suggested as a method of interaction between businesses, the theory holds that when two competitive entities share congruent interests, working together to develop those shared characteristics will lead to a greater outcome than isolated efforts. This concept has been applied in earlier research to the working relationship between early sixteenth-century figures Raphael and Baldassarre Peruzzi in the negotiations of artistic and architectural commissions at the Roman Villa Chigi (known today as the Villa Farnesina). Though the two were inherent competitors, the visual record at the Villa Farnesina suggests that competition was tempered with collaboration to yield a striking series of visual narratives that today are recognized as a watershed moment in Roman artistic and architectural history.

This session aims to advance this initial exploration by inviting paper topics that work to apply this theory of co-opetition to the larger field of early sixteenth-century Italian artistic and architectural production as a nuanced engagement between the parameters of competition and cooperation, examining instances where normally competitive forces chose to work in tandem to achieve an ultimate artistic goal. Papers could trace this theme within a singular work that exhibits these tensions to a larger negotiation, for example, one that occurs between workshop participants or large-scale commissions. The goal of this session is to better elucidate this term in its applications to art and architecture and to assess more globally its validity in such applications to the working relationships of sixteenth-century figures.[/wpex]

Alexis Culotta, American Academy of Art, “Co-opetition and Its Basis in Renaissance Art History: An Overview”

Anne E. Proctor, Roger Williams University, “Co-opetition on Display: Florentine and non-Florentine Sculptors and the Studiolo of Prince Francesco de’ Medici”

Saida Bondini, Courtaud Institute of Art, “Oltra le lode, un presente onoratissimo: Networks of Family Patronage and Two Bolognese Churches”

The Holy Republic of Venice
Organizers: Allison Sherman (Queen’s University) and Eveline Baseggio Omiccioli (State University of New York, FIT)
Chair: Patricia Fortini Brown (Princeton University, emeritus). [wpex more=”Read abstract” less=”Close abstract”]The image of Venice as the champion of Christian faith was an essential component of the city’s self-definition both in the fine arts and literature. Singular in its formation and blessed by God’s favor, Venice associated itself with a virgin creature, an untouched queen, a New Jerusalem, invested with the duty of protecting Christendom. This idea, articulated in written accounts as early as the twelfth century, assumed more defined connotations in the following centuries, developing into one of the most characteristic expressions of the multifaceted Venetian myth. From the perspective of the pilgrims coming to Venice on their way to Jerusalem, the city represented the last Christian outpost on their sacred voyage, but also an embodiment of the Holy Land with its myriad churches and countless relics, the concentration of which – according to popular belief – was second only to Rome.

This panel addresses the ways in which Venice promoted its portrayal as the “santa Repubblica”, to quote Marino Sanudo, during the late fifteenth and early sixteenth centuries. The papers consider Venice’s astute capacity for identity formation, examining a variety of mechanisms – treatises, ritual, relics, hagiography, painted votive images, miraculous and antiquarian objects – involved in codifying and disseminating an image of itself as a New Jerusalem. This panel seeks to stimulate a timely discussion of historical instances of cultural appropriation, revival, rivalry, exchange and preservation during times of geopolitical and religious conflict, particularly between the East and West.[/wpex]

Giada Damen, The Morgan Library & Museum, “Relics of the Antique Gods in Sixteenth Century Venice”

Chiara Frison, Centro Studi Medievali e Rinascimentali “Emmanuele Antonio Cicogna,” “La nobil [et sancta] citĂ  de Venetia” in Giorgio Dolfin’s Chronicle”

Janna Israel, Virginia Commonwealth University, “Renewing the Santa Republica: The Translation of St. Athanasius to Venice”