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Art History CFPs for RSA 2018 New Orleans
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This blog is for CFPs for sessions in art history for RSA 2018 New Orleans. Members may post CFPs here: sign in to RSA and select "add new post" to do so. Your post should include a title, and the CFP itself should be no longer than 250 words. Adding tags (key words) to your post will help others find your CFP. Make sure the CFP includes the organizer's name, email address or mail-to link for email address, and a deadline for proposals. Non-members may email rsa@rsa.org to post a CFP. Please use the email address of the session organizer posted in the CFP to submit a paper proposal. CFPs are posted in order of receipt, with the newest postings appearing at the top of the blog. Members may subscribe to the blog to be notified when new CFPs are posted: click on the word Subscribe next to the green checkmark above.

 

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Top tags: Art history  early modern  Art  Renaissance  Italy  materiality  Historiography  sculpture  architecture  body  devotion  Early Modernity  image and text  New Approaches  painting  Netherlandish  patronage  Artistic practice  Baroque  senses  sensory experience  technologies  Visual Culture  Americas  antiquarianism  artistic process  Book History  fashion  Geography  History of Science 

Visions and the Reliability of Sight, 1500–1700: Deadline Extended

Posted By Marsha Libina, Friday, May 5, 2017

During the Reformation, a period in which claims to religious truths were highly contested, attitudes toward vision and visionary experience became a vital topic of debate among religious thinkers, reformers, image-makers, and art theorists. Phenomena such as apparitions, revelations, prophecies, and dreams were thought to be grounded in sensory perception, but the fallibility of the senses raised serious concerns regarding the veracity and authenticity of visionary accounts, as well as the capacity of the religious image to transmit these accounts to a broader audience. What is more, the risk of demonic spirits infiltrating the artist’s imagination – itself conceived of as a visual process – called into question the reliability of image-makers as mediators of the divine. Representations and accounts of visions thus reinforced and disseminated authorized narratives about proper Christian belief and practice, on the one hand, and opened up a space for uncontrolled and potentially heterodox thinking, on the other.

This panel seeks to open up conversation about Early Modern anxieties surrounding visionary experience, the miraculous, and the reliability of sight, as these play out in the art of sixteenth- and seventeenth-century Europe and the colonial Americas. In particular, it aims to investigate how visions, and the discourses surrounding them, challenged artists to invent a new visual language capable of representing a wide range of visionary experiences. We welcome papers that take a global and interdisciplinary approach.

We invite paper proposals that address such topics as:

  • Corporeal, imaginary, and intellectual vision; the role of the artistic image in facilitating contemplation of the divine
  • The artist’s imagination
  • The incorporation of scientific and theological literature on spiritual discernment into discourses on art making
  • The role of socially marginalized groups in reshaping traditional theological narratives through visionary experiences
  • The representation of visions and visionaries
  • The mobilization of images to authenticate visionary experiences
  • Issues of false or deceptive vision in art
  • Pictorial engagements with concerns about the reliability, objectivity, and certainty of vision
  • Local cults and miraculous images that brought about visions of the divine or whose foundations had visionary origins
  • The importation of European iconographies of visionary experience to the Americas

These themes are meant to serve as starting points for possible investigations. Papers that go beyond these topics are welcome.

Please submit your paper proposal by June 5, 2017 to Marsha Libina (marsha.libina@zentr.uni-goettingen.de) and Alexandra Letvin (aletvin1@jhu.edu). Your proposal should include the following:

  • Name, affiliation, email address
  • Paper title (max. 15 words)
  • Abstract (max. 150 words)
  • Keywords
  • A brief CV (max. 300 words, in ordinary CV format)

Tags:  Americas  art history  devotion  discernment  Europe  imagination  invisible  miraculous  senses  sight  vision 

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Titian

Posted By Jodi Cranston, Friday, May 5, 2017

Papers are invited to discuss any aspect relating to the 16th-century Venetian artist, Titian, and to his artworks. Although the session topic is framed monographically, we encourage papers that consider the engagement of Titian and his artworks with other artists, media, and geographical and social networks.

Submissions should be sent by May 15th to Jodi Cranston (cranston@bu.edu) and Joanna Woods-Marsden (jwm@humnet.ucla.edu), and should include the following information:

  • a paper title (15-word maximum)
  • abstract (150-word maximum) abstract guidelines
  • a very brief curriculum vitae (300-word maximum). Prose bios will not be accepted. CV guidelines and models
  • general discipline area: History, Art History, Literature, or Other
  • any scheduling requests (scheduling requests will not be accepted after the submission deadline)

Tags:  materiality  painting  Titian  ut pictura poesis  Venice 

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“Deep Classics” and the Renaissance

Posted By Caroline G. Stark, Thursday, May 4, 2017

As a new Associate Organization of the Renaissance Society of America, the Society for Early Modern Classical Reception (SEMCR) invites proposals for papers to be delivered at the 2018 meeting of the RSA in New Orleans, LA.  For one of its inaugural panels, SEMCR invites abstracts on “Deep Classics” and the Renaissance.

Drawing on metaphors from fields as diverse as geology and evolution, the concept of “Deep Classics” has recently arisen out of, and in response to, the extraordinarily fertile field of classical reception studies. The term itself signals a consciousness of the distance, occlusions, and multiple strata that define any engagement with classical antiquity. In what has amounted to a programmatic statement of Deep Classics - or, perhaps more aptly, a programmatic fragment - Shane Butler has described its focus as “the very pose by which the human present turns its attention to the distant human past” (S. Butler, Deep Classics: Rethinking Classical Reception, Bloomsbury 2016). Although the founding volume of Deep Classics continues a trend in classical reception study, especially in the UK, of privileging Greek over Latin and modernity over early modernity, Butler is acutely sensitive to the broader applicability of the idea - “indeed, certain aspects of that pose have been important to Renaissance studies for a while now” - citing Barkan and, more recently, Nagel and Wood. We therefore welcome proposals that explore the relationship between Deep Classics and the Renaissance, in particular concerning ideas that “have less to do with ‘knowing’ than with other modes of affect and experience”.  In accordance with another central feature of Deep Classics, we also seek proposals that interrogate disciplinary configurations and self-conceptions.

The Society is committed to creating a congenial and collaborative forum for the infusion of new ideas into classics and early modern studies, and hence welcomes abstracts that are exploratory in nature as well as abstracts of latter-stage research.

Abstracts (150 words) and a short CV (300 words) should be sent as separate email attachments to caroline.stark@howard.edu (see the RSA's abstract guidelines and CV guidelines and models) by May 31, 2017.  The abstracts will be judged anonymously: please do not identify yourself on the abstract page.

Please include in the body of the email:

  • your name, affiliation, email address
  • your paper title (15-word maximum)
  • relevant keywords

Tags:  antiquity  Classical Reception  Classics  distance  Early Modernity  Renaissance  self-conception  sensory experience 

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Art as Idea in the Early Modern World

Posted By Marije Osnabrugge, Thursday, May 4, 2017
Updated: Friday, May 26, 2017

In the early modern period, artistic ideas circulated on an unprecedented scale: locally, (inter)nationally, and globally. Indeed, these circulations were among the main factors in the great fecundity of the arts during this period. This panel seeks to define the nature of artistic ideas and examine how they travelled, from the perspective of three key players: people, art objects, and texts. We are explicitly interested in circulations on any scale and without geographical boundaries: within Europe, between Europe and its (proto-) colonies, and within any other region, in the belief that the discussion will benefit from the input of researchers from different research traditions.

Possible topics may include, but are not limited to:

  • Ideas of art and their circulation and transformation
  • The role of art literature in this process (art theory, criticism, travelogues, diaries, print culture, etc.)
  • Artefacts as material embodiments of ideas
  • Regional, national and (inter)continental networks
  • Methodological and theoretical reflections on the study of circulations, including cultural exchange, histoires croisées, assimilation, hybridity, mestizaje.

 

Submission guidelines

Proposals for 20-minute papers should include:

  • Preliminary paper title
  •  Abstract of 150 words
  • Keywords
  •  Curriculum vitae of 300 words, including full name, current affiliation, and email address

Please send your submission to Marije Osnabrugge (marije.osnabrugge@unige.ch) and Elsje van Kessel (ejmvk@st-andrews.ac.uk) by Sunday, 4 June 2017, using the subject line ‘RSA 2018’. Applicants will be notified by 5 June.

Tags:  art literature  artistic ideas  circulation  cultural exchange  hybridity  methodology  mobility  networks 

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CFP: Saints and Angels: Representing Human and Non-Human Exemplars of Devotion

Posted By Kelly Whitford, Thursday, May 4, 2017
Updated: Thursday, May 4, 2017
Haloed saints and winged angels appear in every medium and style of early modern sacred art and the phrase “saints and angels” appears repeatedly in devotional texts, religious treatises, and prayer books of the era. But while both saints and angels were held up as sanctified exemplars of devotion and were prayed to as intercessory figures, they were considered fundamentally different in their natures. While saints were humans revered for their pious lives and (often) deaths, angels were thought to be incorporeal spirits composed of nothing and created by God. While one is human, the other is spirit, but both were considered holy paradigms.

 

Papers are invited that examine this delicate line between saints and angels in the early modern era and how the relationship between the two was represented, defined, confused, blurred, or worked out in early modern art.


Papers from all geographic areas are welcome.

 

Please submit proposals for 20-minute papers to the organizer Kelly Whitford (kelly_whitford@brown.edu) by 31 May 2017 with the subject line "RSA Saint and Angels." Please include:

  • paper title
  • abstract (150 word maximum)
  • keywords
  • brief curriculum vitae (300 word maximum)

Tags:  Angels  architecture  art  art history  Baroque  body  corporeality  devotion  early modern  Holy  Human  incorporeality  Non-human  painting  print  Renaissance  Saints  sculpture  Spirit  visions 

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CFP: Ut pictura medicina? Relations and Analogies between Medicine and the Visual Arts

Posted By Fabian Jonietz, Thursday, May 4, 2017
Updated: Thursday, May 4, 2017

Beyond the traditional nexus of art, anatomy, and optics, Early Modern sources often suggest a broader, more complex interdisciplinary transfer of knowledge between art and medicine: Lorenzo Ghiberti, for example, recommended that artists know "medicine" in addition to "anatomy." One level of the relationship concerned both disciplines’ need to grasp the particularity of a given body in light of the universal. Physicians thus sought artists to produce color scales for use in diagnosis, just as artists utilized medical knowledge to sharpen their visual judgment. Another level concerned broader historical circumstances. Not only did artists and physicians share Saint Luke as a common patron; in Renaissance Florence, for example, they also belonged to the same guild, engaged in similar debates regarding their "liberal" status, and – arguably – conceived their histories in similar ways. What can we conclude about such multivalent relationships? For example, did the two disciplines’ commitment to the observation of particular phenomena engender inconsistencies with traditional doctrine that demanded a similar reckoning with status, authority, and history?

 

This panel investigates the relationship between medicine and art at all levels: the social position of practitioners, the exchange of theoretical and practical knowledge, the existence of shared nomenclature and concepts, and the latter’s tendency to generate shared modes of observation and description.

 

Please submit a title, abstract (150 words maximum) and a short CV (300 words) to the panel organizers Robert Brennan (robert.brennan@khi.fi.it) and Fabian Jonietz (fabian.jonietz@khi.fi.it) by May 30.

Tags:  Art History  Art Theory  Body  Guilds  Historiography  History of Science  medicine 

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CFP: ELEMENTAL FORCE

Posted By Thalia E. Allington-Wood, Thursday, May 4, 2017

Drowning, falling, floating, growing, burning, melting. How are elements figured in Renaissance and early modern artistic representation? From imagery of earth, water, air and fire, to the more ubiquitous sense of temperature, weight, darkness and light, how does visual culture contribute to an understanding of the elements in this period? From the thrusting up of rocks from beneath the earth through volcanoes and earthquakes, to the wide expanse of the cosmos, knowledge of natural phenomena was prominent in the Renaissance and early modern imagination. How do objects harness the elements in their production? What, for example, is the role of fire and earth in metal works and ceramics? Equally, how did elemental forces act upon and alter works of art – from physical damage to the influence of regional topographies, materials and pigments?

The landscape of elemental physics changed dramatically between 1300 and 1700. This history is characterised by a broad paradigm shift from a sublunar, terrestrial world made up of the four elements and their specific material attributes (hot, cold, heavy, light), to a globe experienced through Mercator’s seas, Galileo’s sky and Newton’s earth. Yet the elements, their effects upon the body, their power to manifest material things – and how they are imagined and contested in visual culture – do not always sit easily within this chronology. The representation of these forces is the focus of this panel. It is a subject that has the power to open up broader concerns regarding memory, motion, travel, sensory experience, metamorphosis, environmentalism and networks of knowledge exchange – social, cultural and political.

We welcome papers from across disciplines, from within Europe and beyond Western contexts. Topics might include, but are not limited to:

- The elements and their early modern properties: Earth/ Rock, Water, Air, Fire; hot, cold, wet, dry, heavy, light.
- Elements as complex, compound mixtures.
- Materiality & Making: sculpture and stone, ceramics and glass, metal and fire, water and fountains, earth and pigments.
- Elemental/ material states: solid, liquid and in-between.
- The effects of the elements upon the body: falling, burning, pain, joy, drowning, disease, phenomenological and sensory approaches to elemental force.
- Understanding within academic disciplines: natural philosophy, alchemy, chemistry, theories of metamorphosis.
- Cosmos: stars, sky, separation of celestial and terrestrial physics.
- Gravity.
- Light & Shadow.
- Manifestations of the elements in nature: wind, clouds, volcanoes, rivers, the sea, mountains, natural disasters such as earthquakes, floods, storms.
- Connections to landscape, geography, environmentalism, catastrophism, the non-human.
- Water & Travel: wetscapes, navigation and shipwreck, hydrographies.

Please send a paper title, abstract (150 word maximum), keywords, and a brief curriculum vitae (300 word maximum – see RSA guidelines for requirements) to thalia.allington-wood@ucl.ac.uk and sophie.morris@ucl.ac.uk by 31 May 2017

 

Tags:  Air  Art  Art History  artistic process  bodies  body  cosmos  Early Modern  Earth  Elements  Fire  gravity  materiality  metamorphosis  natural history  nature  New Approaches  Renaissance  sensory experience  temperature  Visual Culture  Water  weight 

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CFP Virtue and Wonder: Magnificent Architecture in the Early Modern Period

Posted By Nele De Raedt, Wednesday, May 3, 2017

Virtue and Wonder: Magnificent Architecture in the Early Modern Period

This session explores the transformations and adaptations of the classical notion of magnificence in the early modern period. Scholarly literature about magnificence and its role in architectural patronage has focused almost exclusively on "Magnificentia" as an Aristotelian virtue. Yet, the early modern discourses on magnificent architecture knew other traditions as well, regarding magnificence as a characteristic of the object (associated with wonder and luxury). In light of religious and political arguments, as well as aesthetic theories, lavish expenditure on buildings was associated with distinct and specific notions of "Magnificence." On the one hand, these discourses continued to rely on "Magnificentia" as the virtuous act of patronage discussed in Aristotle’s Nicomachean Ethics. On the other hand, the political and religious adaptation of the discourse took an object-centered view, based upon effects of wonder and awe provoked by the magnificent building on its onlooker.

In this session, we invite contributions that explore the existence of distinct and sometimes contradictory notions of magnificence in the early modern period. We are particularly interested in understanding how and in what circumstances these different notions were implemented to defend and celebrate architectural patronage, and whether authors consciously turned to certain traditions, while ignoring others. Similarly, we would like to trace when and how magnificence was used as an aesthetic category, and what religious or political attributes were ascribed to magnificent buildings by patrons and architects.  

Please submit proposals for 20-minute papers to the organizers Nele De Raedt (nele.deraedt@ugent.be) and Anne-Françoise Morel (annefrancoise.morel@kuleuven.be) by 30 may 2017. Please include

  • Title (max 15 words)
  • Abstract (max 150 words)
  • A short biographical statement (max 250 words)
  • Author’s name, professional affiliation, and contact information.

This session is sponsored by the European Architectural History Network. 

Tags:  Art History  Early Modern  patronage  Renaissance 

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CFP Worlding the Early Modern: Case Studies in Visual and Material Culture

Posted By Ivana Vranic, Tuesday, May 2, 2017
Updated: Tuesday, May 2, 2017

Initiated by the Making Worlds Project, which investigates recent questions posed by the global turn in the humanities (including art history, literature, anthropology and history), this panel seeks papers that engage with the representational and conceptual ways in which the world was conceived, imagined and inscribed between the fifteenth and seventeenth centuries. Through representing, collecting, utopian writing, map-making, trading, encountering and describing the world, early modern artists, traders, writers and natural philosophers were in fact bringing the world nearer to them. Taking cue from Martin Heidegger’s concept of worlding as an ontological process of bringing-near—or thinging—the world, which is always both pre-existing and historically contingent, we are interested in gaining a more nuanced understanding of what the world meant epistemologically, philosophically, geographically, technologically and cosmologically in the longue durée of the early modern period. In particular, we want to explore how things, such as objects, texts, and works of artistic and visual culture, mediated and participated in world-making.

 

We invite papers that take up different case studies which engage with material and visual representations of the world, including those that attend to how and why in its making such conceptualizations were either totalizing, flawed, or even impossible. Please send your 150-word abstracts, with a title, keywords, and a 300-word CV to Tomasz Grusiecki (tomasz.grusiecki@mail.mcgill.ca) and Ivana Vranic (ivana7vranic@gmail.com) by May 30, 2017. 

 

Tags:  Art  Art History  cartography  Continents  Counter-Reformation  drawings  Early Modernity  Geography  Historiography  image and text  materiality  painting  portraiture  print culture  representation  sculpture  the global turn  Travel Accounts  Visual Culture 

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Portraying the Prince of the Church: Cardinal Portraits in Early Modern Europe 1431-1621

Posted By Piers Baker-Bates, Tuesday, May 2, 2017

Cardinal portraits have been analysed primarily in terms of the artists who painted them or within the broader genre of portraiture.  No more profound investigation of these as a specific phenomenon has ever been attempted.  The questions surrounding the production, collection and status of the Cardinal portrait are particularly relevant in the light of the Brill Companion to the Early Modern Cardinal, to be published early next year.  Our session aims to cover all portrait media and invites papers that could address the following themes:

—the evolution and development of the Cardinal portrait and its relationship to papal portraiture?  The possibilities offered by the Cardinal portrait for promotion of a dynastic heritage?

—role playing: group portraits, the Cardinal at work, the Cardinal as donor?

—what was the impact of the Council of Trent on the Cardinal portrait?

—were there artists who specialised in the Cardinal portrait?

—issues surrounding collection and display of the Cardinal portrait, in both public and private settings; questions of status?

—dissemination of the Cardinal portrait as copies, gifts and prints?  The role of the Cardinal portrait in decorative programmes and series?

—questions of centre and periphery, differing priorities as reflection of geographical origin e.g. Roman baronial families: the global Cardinal portrait?

—Cardinal portraits as ex voto and relic; material culture and the Cardinal portrait?

Cardinals tombs have been much more discussed and are outside the scope of our enquiry unless they contain a bust or painted portrait within them or are painted themselves.  150 word proposals and a brief Curriculum Vitae should be sent to Piers Baker-Bates (p.baker-bates@open.ac.uk) and/or Irene Brooke (trevorirene@gmail.com) by Wednesday 31st May.

Tags:  Art History  Cardinals  Early Modern  Portraits  Renaissance 

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