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The Gothic Present and Renaissance Art

Posted By C. Jean Campbell, Thursday, May 19, 2016

The centrality of the Gothic, whether Vasari’s maniera tedesca or Panofsky’s Gothic/medieval period, to the discourses of Renaissance art history is both long established and practically invisible. Outside certain strands of architectural history, however, its value as a critical term within Renaissance art history remains largely unexplored. Broad style categories like “International Gothic” still have sufficient currency to designate, alternately and often equivocally, an aesthetic category and a historical period.  Yet, little pressure has been put on the ways in which, beginning with Vasari, the idea of the Gothic has been made, and remade to operate as a hinge between critical and historicist projects within the field of art history. Rather than cleaving to familiar narratives that assume “gothicness” as something overcome or finally superseded by the historical progress of the Renaissance, this session will focus on the Gothic present. We invite papers exploring the ways in which Gothic either has or might still operate as a generative term in studies of Renaissance art. 

 

Please send your proposal to Jean Campbell, Emory University (cjcampb@emory.edu) and Anne Dunlop, University of Melbourne (anne.dunlop@unimelb.edu.au), by Friday, June 1, 2016. Proposals should include the title (15 words maximum), abstract (150 words maximum), keywords, and a one-page CV (300-word maximum).

Tags:  Aesthetics  art criticism  Art History  Gothic  ornamentotherness  temporality 

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