BEGIN:VCALENDAR METHOD:PUBLISH VERSION:2.0 CALSCALE:GREGORIAN PRODID:-//NONSGML WPForms//NONSGML Sugar Calendar Feeds v3.11.0//EN X-WR-CALNAME:Venice in Blue: The Use of carta azzurra in the Artist’s Studio and in the Printer’s Workshop\, ca. 1500–50 X-WR-CALDESC:Italian Art Society X-WR-TIMEZONE:America/Chicago BEGIN:VTIMEZONE TZID:America/Chicago BEGIN:DAYLIGHT TZOFFSETFROM:-0600 TZOFFSETTO:-0500 DTSTART:20210314T080000 TZNAME:CDT END:DAYLIGHT END:VTIMEZONE BEGIN:VTIMEZONE TZID:America/Chicago BEGIN:DAYLIGHT TZOFFSETFROM:-0600 TZOFFSETTO:-0500 DTSTART:20210314T080000 TZNAME:CDT END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT SUMMARY:Venice in Blue: The Use of carta azzurra in the Artist’s Studi o and in the Printer’s Workshop\, ca. 1500–50 DESCRIPTION:University of St Andrews\, International Online Conference: 2–3 September\, 2021Organisers: Alexa McCarthy\, Laura Moretti\, Paolo Sachet\n\n\n\nAt the turn of the sixteenth century\, blue paper emerged as a chosen support for drawing and printing in Venice. Artists includi ng Vittore Carpaccio (ca. 1460–ca. 1526)\, Lorenzo Lotto (ca. 1480–1 556)\, Titian (ca. 1488–1576)\, Sebastiano del Piombo (ca. 1485–1547 )\, and Jacopo Tintoretto (1518/19–1594) utilised this support for dra wings to explore the tonal effects of light and shade on colour. At the same time\, publishers like Aldus Manutius (ca. 1445–1515)\, Francesco Marcolini (ca. 1500–after 1559)\, and Gabriele Giolito (ca. 1508–15 78) printed books on blue paper\, capturing the interplay of the materia ls that form the page\, text\, and image. The impact of these practices quickly became internationally influential.\n\n\n\nThis conference explo res the use of blue paper (carta azzurra\; carta turchina\; carta cerule a) for the purposes of drawing and printing in Venice in the first half of the sixteenth century. Recent scholarship has considered the role of this medium in artistic practice and has called for further attention to be paid to this material\, beyond its mention in art historical literat ure as a support for images and text (Brückle 1993\; Bower 2002\; Brahm s 2015\; Burns 2020). Bringing together perspectives on drawing\, printi ng\, and networks of exchange\, this conference will shed new light on t he significance of blue paper in Venice between ca. 1500–50 and the ma terial’s cross-cultural impact.\n\n\n\nProgramme\n\n\n\nThe conference will take place over the course of two days. The programme consists of presentations highlighting new research and objects preserved in interna tional collections\, and a roundtable discussion. Presentations will be in an online format. An online exhibition will accompany the conference. \n\n\n\nDay 1\, Thursday\, 2 September 2021:\n\n\n\n12:00 pm (GMT): Open ing Remarks by Alexa McCarthy\, Laura Moretti\, Paolo Sachet\n\n\n\n12:1 5–1:15 pm: Session 1\, The Material of Blue Paper (moderator: Laura Mo retti) • ‘The Handmade Blue Paper Project: Applying Interdiscipl inary Experimental Archaeology to the Study of the Materiality of Histor ical Blue Papers\,’ Leila Sauvage\, University of Amsterdam\; Rijksmus eum\, Department of Conservation • ‘Carta azzurra: interpreting the material evidence\, Venice circa 1500\,’ Thea Burns\, Queen’s Un iversity\n\n\n\n1:15–2:15 pm: Session 2\, Drawing on Blue Paper (moder ator: Alexa McCarthy) • ‘Bartolomeo Montagna’s Figure Drawings on Carta Azzurra: Practice\, Purpose and Presentation\,’ Genevieve Ve rdigel\, Getty Paper Project Fellow\, British Museum • ‘“La st rada vera” – Tintoretto’s drawings on carte azzurre and art theory \,’ Iris Brahms\, Freie Universität\, Berlin\n\n\n\n3:30–4:30 pm: C ollection Presentations\, Part I (moderator: Paolo Sachet) • Steph anie Stillo\, Lessing J. Rosenwald Collection and Aramont Library Rare B ook and Special Collections Division\, Library of Congress • Edina Adam and Michelle Sullivan\, J. Paul Getty Museum\n\n\n\n4:30–5:00 pm : Closing Discussion\, Day 1\n\n\n\nDay 2\, Friday\, 3 September 2021:\n \n\n\n12:00–12:30 pm (GMT): Open Presentation\, Laura Moretti\n\n\n\n1 2:30–1:30 pm: Session 3\, Printing on Blue Paper (moderator: Laura Mor etti) • ‘In Between Aldus and Giolito: Venetian Imprints on Blue Paper (1514–1543)\,’ Paolo Sachet\, University of Geneva • Aldus\, Bomberg\, and the Origins of Blue Paper in Hebrew Printing\,’ Brad Sabin Hill\, George Washington University\n\n\n\n1:30–2:30 pm: S ession 4\, Venice and Beyond (moderator: Paolo Sachet) • ‘Blue P aper for Drawings and Etchings in the Veneto and the Manner of Parmigian ino\,’ Alexa McCarthy\, University of St Andrews • ‘From Venic e with Blue: The spread of blue paper in the Marches around 1550\,’ Lu ca Baroni\, Scuola Normale Superiore3:30–4:30 pm: Collection Presentat ions\, Part II (moderator: Alexa McCarthy) • Maria Aresin\, Thysse n Fellow\, Centro Tedesco Venice\, Staatliche Graphische Sammlung Münch en • Stephen Parkin\, British Library\n\n\n\n4:30–6:00 pm: Round Table Discussion (moderators: Paolo Sachet and Alexa McCarthy) • Emily Rose Anderson\, University of Southern California • Maria Ar esin\, Thyssen Fellow\, Centro Tedesco Venice • Laura Carnelos\, E ton College Library • Thomas Dalla Costa\, Independent Art Histori an and Curator • Luca Fiorentino\, Istituto Universitario Olandese di Storia Dell'Arte • Daryl Green\, University of Edinburgh Elsje van Kessel\, University of St Andrews • Anita V. Sganzerl a\, Curator\, Private Collection\n\n\n\n6:00–6:30 pm: Closing Discussi on and Remarks by Alexa McCarthy\, Laura Moretti\, Paolo Sachet\n\n\n\nT o Register\, click here.\n\n\n\nThis conference has been generously supp orted by the Society for Renaissance Studies. URL;VALUE=URI:https://www.italianartsociety.org/events/venice-in-blue/ UID:urn:uuid:37e80062-5ff9-4ca2-899a-32f5bca9fb6c STATUS:CONFIRMED ORGANIZER: DTSTAMP:20260509T031626Z DTSTART;VALUE=DATE:20210902 DTEND;VALUE=DATE:20210903 LOCATION:Virtual END:VEVENT END:VCALENDAR