BEGIN:VCALENDAR METHOD:PUBLISH VERSION:2.0 CALSCALE:GREGORIAN PRODID:-//NONSGML WPForms//NONSGML Sugar Calendar Feeds v3.12.1//EN X-WR-CALNAME:2017 Annual Meeting of the Renaissance Society of America X-WR-CALDESC:Italian Art Society X-WR-TIMEZONE:America/Chicago BEGIN:VTIMEZONE TZID:America/Chicago BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0600 DTSTART:20161106T070000 TZNAME:CST END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0600 TZOFFSETTO:-0500 DTSTART:20170312T080000 TZNAME:CDT END:DAYLIGHT END:VTIMEZONE BEGIN:VTIMEZONE TZID:America/Chicago BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0600 DTSTART:20161106T070000 TZNAME:CST END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0600 TZOFFSETTO:-0500 DTSTART:20170312T080000 TZNAME:CDT END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT SUMMARY:2017 Annual Meeting of the Renaissance Society of America DESCRIPTION:63rd Annual Meeting of the Renaissance Society of America\, Chicago\, 30 March – 1 April\, 2017\n\nThis IAS sponsored the follow ing sessions at RSA\nLying in State: The Effigy in Early Modern Italian Funerary Art ca. 1400–1600 I\nSat\, April 1\, 8:30 to 10:00am\, Palmer House Hilton\, Seventh Floor\, Burnham 4\n Organizer\nLara R. Langer \, CASVA\, National Gallery of Art\, Washington\, DC\nChair\nSheryl E. Reiss\, Independent Scholar\n Saints Lying in State: Presentation versu s Representation \n\nIn fifteenth-century Italy fundamental changes in saints’ cults occurred: bodies of the novel venerated were no longer f ragmented\, but measures were taken to guarantee their integrity and inc orruptibility. My paper explores visual strategies within funerary monum ents for quattrocento saints\, oscillating between reinterpretation and negation of the gisant. The wooden effigy of Angela of Foligno (1500)\, for example\, was not simply the portrayal of the departed\, but a life- size reliquary. By representing the deceased\, Gabriele Ferretti’s tom b (1489) resembled wall monuments with an effigy\, yet it permitted visu al contact with the venerated body through an aperture in the sarcophagu s. Bernardino of Siena’s mausoleum (1505) did not depict a gisant in t he expected position\, replacing it by the corpse itself displayed in la rge openings\, thereby substituting representation with presentation. Be rnardino’s presence addressed theories of “real presence” of divin e virtus in relics as well as ostentatious pride in owning the entire sa int’s body. ­ Pavla Langer\, Kunsthistorisches Institut in Florenz\, Max-Planck-Institut\n\nItalian Renaissance Effigies Neither Dead Nor Al ive\n\nI will present—largely through my own unpublished photographs a group of fifteenth and early sixteenth century Italian effigies showi ng the body at the point of death. Containing subtle traces of life\, an d being neither completely inert nor fully alert\, these effigies descri be ambiguous in-between conditions. This paper will focus on the climax and sudden falling away of this as yet unrecognized mode of representati on. I have found no examples of the at-death effigy in Italy after 1529. The timing of its disappearance therefore correlates with Erwin Panofsk y’s observations about the activation of the effigy in the early sixte enth century. I will suggest that these at-death effigies constitute a t ransitory stage between the “sleeping” and “awake” states. I wil l also discuss subtle similarities between this newly identified interme diate group and the decaying cadaver effigies popular north of the Alps because these similarities suggest continuity and challenge the notion o f a sudden “awakening. – Katerina Harris\, New York University\n\nT he Long Sleep: Andrea Sansovino and the Cardinal Effigies at Santa Maria del Popolo\n\nAndrea Sansovino’s twin cardinal tombs at Santa Maria d el Popolo\, produced between 1505 and 1509 for Pope Julius II\, stand fa cing each other in the main chapel as eloquent commemorative monuments o f the deceased and as masterpieces of marble by the artist. The twin tom bs mark a critical shift in the function of memorialization of ecclesias tical figures. Some scholars\, such as Erwin Panofsky\, argued that the cardinals’ effigies are the most innovative and distinguishing feature on the tombs. The effigies are displayed as demi gisants with their hea ds rested on their hands propped by an elbow as if to appear in a state of slumber. This paper seeks to address the possible motivations for San sovino’s unusual cardinal effigies\, which inspired copyists\, and wil l suggest that their unique qualities could be related to Augustinian no tions of the “restful soul” and man’s salvation\, themes highlight ed throughout the visual program of the chapel. – Lara R. Langer\, C ASVA\, National Gallery of Art\, Washington\, DC.\nLying in State: The E ffigy in Early Modern Italian Funerary Art ca. 1400–1600 II\nSat\, Apr il 1\, 10:30am to 12:00pm\, Palmer House Hilton\, Seventh Floor\, Burnha m 4\n Organizer\nLara R. Langer\, CASVA\, National Gallery of Art\, W ashington\, DC\nChair\nLara R. Langer\, CASVA\, National Gallery of Ar t\, Washington\, DC\n\nEffigies are for Girls: Representing Women in Dea th in Quattrocento Italy\n\nJacopo della Quercia’s famous tomb of Ilar ia del Caretto is typically considered the only notable—and sometimes even the lone—female effigy from fifteenth-century Italy. This paper l ooks beyond Ilaria to many other effigial tombs created for women in tha t century and examines how they were adapted to an array of biographical concerns and commemorative motivations. Although always “asleep\,” the range of features presented in these effigies belies attempts to gro up them into a monolithic type. Specifically\, this paper examines how t hese figures were dressed\, their facial features—including whether th ey were youthfully ideal or virtuously wizened—and their attributes\, such as dogs\, prayer books\, or empty hands. It concludes that these pu blic portraits of women in death thoughtfully engaged varied commemorati ve modes\, particularly regarding ideals of beauty and virtue. These str ategic choices lay the groundwork for sixteenth-century changes\, which included greater numbers and greater representational diversity in women ’s effigies. – Brenna Graham\, Independent Scholar.\n\nSienese Fune ral Effigies: A Case Study in Cross-Cultural Exchange in Central Italy\n \nScholars often frame Siena as isolationist\, yet from its beginning th e republic was internationally vital\, sending artists to work abroad an d calling upon foreign artists to work in Siena. The diverse style of fu neral effigies by Sienese sculptors\, honoring patrons and high-ranking ecclesiastics\, illustrates the cross-cultural transfer between Siena an d Central Italy. Sienese Jacopo della Quercia’s unprecedented all’an tica tomb for the Giunigi in Lucca\, Ilaria del Carretto\; Florentine Do natello’s groundbreaking perspectival effigy of Sienese Bishop Pecci\; and\, Sienese Giovanni di Stefano’s bronze naturalistic effigy of Ven etian Cardinal Foscari for Santa Maria del Popolo in Rome demonstrate th e demand for Sienese sculptors across Italy and the reception of foreign artists such as Donatello in Siena. Sienese sculptors assimilated eleme nts derived from ancient Rome and humanist Florence\, while retaining th eir native Sienese artistic traditions. In sum\, I examine the overall i mportance of cross-cultural exchange in Sienese tomb design throughout t he Italian peninsula. – Maria Lucca\, The Graduate Center\, CUNY\n\n The Tomb of the Prince of Kleve: Medieval Iconography in a Counter-Refor mation Monument\n\nThe kneeling effigy appears for the first time in Rom e on the tomb of Karl Friedrich von Julich-Kleve-Berg (1577–79). The m onument is an example of the revival of late medieval tomb types that of ten displayed the deceased multiple times\; for example\, as a reclining effigy and a kneeling supplicant. The display of neo-medieval features was part of Pope Gregory XIII’s propaganda to celebrate the Golden Age of Catholic doctrine. This paper will demonstrate how the imagery exhib ited on the Kleve tomb celebrates the main tenets of the Counter-Reforma tion\, particularly because much of the prince’s reign occurred during an intense period of strife between Catholics and Protestants. In addit ion\, two concept drawings\, attributed to Hans Speckaert\, of the tomb s relief work offer insight into the composition process\, and demonst rate the possible collaboration between Speckaert\, a well-known painter and draughtsman\, and the Flemish workshop that produced the monument. – Tancredi Farina\, "Sapienza\," Università di Roma\nTrecento Art Beyond Italy I\nSat\, April 1\, 8:30 to 10:00am\, Palmer House Hilton\, Third Floor\, Indiana Room\nOrganizer\nAmy E. Gillette\, St. Joseph's University\nChair\nAmy E. Gillette\, St. Joseph's University\n\nArt i n a Cross-Confessional Context: A Trecento Icon at the Panagia Phanerōm enē in Kastoria\n\nOften the images from the Early Modern era overlay e arlier images hidden beneath. Such is the case with a remarkable icon of the Man of Sorrows at the Church of the Panagia Phanerōmenē in Kastor ia in northwestern Greece. This icon presents a striking instance of a W estern type refashioned to suit an Orthodox liturgical setting. Crafted at the acme of mendicant Italian missionary efforts in Byzantium\, it af fords insight into the reconceptualization of devotional images by artis ans active in the fourteenth-century eastern Mediterranean sphere. This appropriative process was reciprocal\, as analysis of other syncretistic images shows. Proceeding from questions of origin and identity traditio nally asked of ‘hybrid’ works of art\, this paper focuses on functio n: use-value and the devotional context in which the Phanerōmenē icon served. Embedded within this discussion are comments on the state of Cru sader Art and a plea to extend its parameters to encompass Trecento Ital ian painting  – John Lansdowne\, Princeton University\n\nThe Role o f Genoa in the Arts of Trecento Constantinople\n\nAssessing the impact t he Genoese community had on the visual culture of the eastern Mediterran ean is not an easy task. While the Genoese were important contributors t o the economic\, political\, and religious environment of a number of ci ties in throughout the Mediterranean\, including Constantinople and Fama gusta\, their contribution to the built environment is difficult to iden tify and complicated by an adoption and adaptation of various architectu ral and decorative forms. The fourteenth century\, however\, was a perio d in which Genoese political and religious players asserted themselves m ore visibly in cities like Famagusta and Constantinople. Using the archi tecture and decoration of the Arap Camii\, the former Dominican church i n Constantinople as a case study\, his paper will explore the manner in which Genoese identity is expressed visually in this Mediterranean conte xt. – Justine Andrews\, University of New Mexico\n\nNew Evidence on Simone Martini at Avignon: Work\, Network\, and Reception\n\nThis paper elaborates on the recent discovery of a document that records a hitherto unknown work painted by Simone Martini during his final years in Avigno n — effectively his last documented work: an altarpiece dated 1343 com missioned by a lay Florentine patron for the high altar of the Francisca n Church at Avignon. Unpublished evidence from the convent’s archives reveals that Simone’s employment by the Avignon Franciscans was hardly a coincidence\, as the as their church was the beating heart of the Ita lian community in the papal city and counted among its benefactors a num ber of Simone’s most prestigious former patrons (for instance: Robert of Anjou\, Sancia of Mallorca\, Jacopo Stefaneshi and Napoleone Orsini). These new insights on Simone’s work and network at Avignon offer the opportunity to reconsider more broadly the impact of Sienese art on late medieval painting at Avignon and the city’s visual identity. – Emma  Capron\, The Frick Collection\n\nThe Trecento Madonna of Cambrai\n\nFo r nearly a century\, the painting venerated as Notre Dame de Grâce de C ambrai has been an exemplar in studies of artistic transmission between northwestern Europe and Byzantium. While scholars note in passing that t he painting is Italian\, little attention has been paid to the role play ed by its Trecento origins in shaping its unusual formal qualities and l ater celebration in the North. This paper first explores the panel’s i nterweaving of Tuscan\, southern Italian and Balkan elements and their p ossible relationship to papal and Angevin projects previously elided thr ough the simple sobriquet Italo-Byzantine. It then turns to the panel’ s later French reception to suggest that parallels to Roman icons attrib uted to St. Luke\, rather than perceived Byzantine origins\, lay at the heart of the panel’s fifteenth-century cult. These moments reveal the blurred boundaries of medieval ‘Italy’ and the intersections of ritu al and visual translation as interpretive modes. ­ – Christina Norm ore\, Northwestern University URL;VALUE=URI:https://www.italianartsociety.org/events/2017-63rd-annual- meeting-renaissance-society-of-america-chicago/ UID:urn:uuid:bdd09466-8b0f-491e-8021-ab06a73c4dbb STATUS:CONFIRMED ORGANIZER: DTSTAMP:20260814T102035Z DTSTART;VALUE=DATE:20170330 DTEND;VALUE=DATE:20170401 LOCATION:Chicago END:VEVENT END:VCALENDAR