Print Page   |   Contact Us   |   Sign In   |   Register
Art History CFPs for RSA 2018 New Orleans
Blog Home All Blogs
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 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.


Search all posts for:   


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 

Particularities of Place: Collecting Early Modern European Art in the Southern United States

Posted By Alexis R. Culotta, Wednesday, May 24, 2017


Particularities of Place: Collecting Early Modern European Art in the Southern United States 


The history of early modern European art collections in the American south offers a complex yet compelling narrative. In the spirit of this year's host city of New Orleans, this session aims to examine the history of early modern holdings across the southern United States and the extent to which cultural and/or sociological connections informed the development of these collections.


This session invites submissions from all art historical and museological disciplines on any form of artistic production dating to the early modern era (roughly 1400-1750) provided it bears connection the general geographic footprint of the southern United States. Paper topics can range from individual art work case studies to larger surveys, and those that look to the driving forces behind these collections – such as collector's or curator's personalities; finding a place in history; or a passion for education – are particularly encouraged. 


Please send an abstract of 150 words, a one-page CV, and contact information by email attachment to Alexis Culotta ( and Vanessa Schmid ( no later than 3 June 2017. 

Tags:  Art  Art history  Baroque  collecting culture  construction  early modern  Netherlandish  reception  Renaissance  Spanish and Italian Renaissance  Visual Culture 

PermalinkComments (0)

Self-Fashioning and Re-fashioning the Renaissance

Posted By Imogen Tedbury, Tuesday, May 23, 2017

Every major artistic, political, and ecclesiastical figure of the Renaissance consciously manipulated their public image, intentionally fashioning how diverse audiences in different contexts would perceive them. The creation of these personae rendered both identifying features and historical narratives malleable. This practice often extended beyond the self, with lineages traced to fantastic origins, remembered ancestors glorified through manipulated memory, and the narrative of historical events rewritten. Since the Renaissance, nineteenth- and early-twentieth-century scholarship has created new mythologies around these same Renaissance figures, sometimes derived from their original personae but often re-fashioned from more recent conceptions of history, patronage, art, or literature. In some instances, Renaissance self-fashioning has become obscured by the re-fashioned mythologies of scholarship.

At forty years’ distance from Stephen Greenblatt’s Renaissance Self-Fashioning and in light of recent research re-examining the reception of Renaissance art in the nineteenth and twentieth centuries, this panel seeks to interrogate the relationship between Renaissance and modern mythologies. It aims to reconsider present-day conceptions of major artistic, political, and ecclesiastical individuals based on (or contrasting with) the crafting of identity in the Renaissance period, alongside mythologies now recognized as modern lore. We welcome proposals that explore the Renaissance self-fashioning and modern re-fashioning of figures from 1300-1700 throughout Europe. Topics might include, but are not limited to:

       Case studies and Comparisons: The reassessment of a Renaissance figure (artistic, political, ecclesiastical, etc.) and their contemporary or modern mythology; a discussion of an understudied individual who has remained overlooked; the examination of a figure who has had a cyclical resurgence of scholarship over the past centuries

       Reception Networks: The investigation of the relationship between patron, artist/writer, public, and/or scholar in the development of both modern and Renaissance myths

       Sources and Resources: Parallels and/or disjunctions between the art, literature, etc. that contributed to a figure's public image, the archival sources that fueled nineteenth or twentieth-century scholarship, and/or contemporary conceptions of an individual, including political, geographical, and personal agendas

Papers are welcome from multiple fields (art history, history, literature, sociology, etc.). Please send 150-word abstracts and a brief CV (see RSA guidelines here) to Alexander J. Noelle ( and Imogen Tedbury ( by Sunday 4th June 2017.

Tags:  Art  Art history  Historiography  identity  memory  reception  Renaissance  representation  representations 

PermalinkComments (0)

The Problem of Style in Fifteenth-Century Italian Art

Posted By David J. Drogin, Tuesday, May 9, 2017

This session examines artists and artworks that challenge conventional norms or narratives of style in fifteenth-century Italian art. Since the period itself, the quattrocento has been understood as a moment of stylistic revolution, in which new formal ideals replaced old. With the benefit of hindsight, art historians from Vasari onward have emphasized the innovations they saw as laying the foundations of academic art. Revolutions, however, are messy, and stylistic development in the fifteenth century was not as straightforward or unidimensional as such teleological narratives suggest.


We invite proposals for papers that explore the complexities of formal practices in quattrocento Italy and help define alternative narratives of style. Issues to be addressed might include:


  • rethinking the Renaissance vs. Gothic binary

  • rethinking the significance of textbook innovations, such as empirical naturalism, scientific perspective, or antiquity as formal model

  • rethinking the relationship between humanist conceptions of literary style and the visual arts

  • patronage and style; style and self-fashioning

  • style in regional traditions or in centers vs. peripheries

  • style in relation to medium and technique, subject matter, or site


Please email proposals to both Robert Glass ( and David Drogin ( by Friday, May 26.


As per RSA guidelines, proposals should include the following: paper title (15-word maximum), abstract (150-word maximum), keywords, and a very brief curriculum vitae (300-word maximum).

Tags:  architecture  art  art history  artistic practice  early Renaissance  fifteenth century  Italian  Italy  painting  quattrocento  sculpture  style 


Reconnecting: New Thoughts on Art and the Spectator in Renaissance Italy

Posted By Steven J. Cody, Monday, May 8, 2017


2018 marks the thirtieth anniversary of John Shearman’s A.W. Mellon Lectures in the Fine Arts. These lectures developed bold strategies for approaching works of art that are completed outside of themselves, in the viewer’s experience. They were subsequently published under the title, Only Connect… (1992), which is now a classic in the field, and which continues to inspire some truly searching art historical commentary.

This panel looks to capitalize on the anniversary of Shearman’s lectures and to honor their legacy in the best way possible, by continuing the conversation—by re-connecting, as it were. In keeping with the spirit of Only Connect… itself, we invite proposals that consider the experience of viewing Italian Renaissance art from new and innovative perspectives.

Presenters are welcome to engage with Shearman’s interpretative frameworks, to grapple with them, and/or to develop different ways of thinking about early modern spectatorship.

Please send proposals and direct any queries to Steven Cody ( Proposals must be submitted by 1 June and include the following items:

-          The presenter’s name, affiliation, and email address

-          The paper’s title

-          An abstract (150-word maximum)

-          Keywords

-          A brief CV (300-word maximum)

Tags:  Art  art history  New Approaches  Renaissance  Shearman  spectator 

PermalinkComments (0)

Art and Memory Beyond Rulers: Family Art Patronage in Early Modern Italy

Posted By Maria DePrano, Monday, May 8, 2017
Updated: Monday, May 8, 2017

Families across the Italian peninsula actively engaged in art and architectural patronage for the benefit of their social status and to perpetuate family memory. Research analyzing the works commissioned by families in Early Modern Italy frequently concentrates on buildings and artworks ordered by rulers. This scholarly emphasis has been motivated by the leading artists of the works, significant numbers of surviving objects and buildings, the families’ historical importance and extant archival documentation. But, this concentration on art commissioned by rulers means that less is known about art patronage by minor noblemen,  professional elites, merchants, scholars and working class families . Using family archives and existing works can we determine what these men and women commissioned? How did they use art? What concerns and interests may have shaped the works? What could be learned by considering families of other class levels and their engagement with the arts? This CFP invites paper proposals from scholars working on non-ruling families throughout the Italian peninsula in the Early Modern period. Please send title (15-word maximum), abstract (150-word maximum), keywords, and short C.V. to the organizers: Maria DePrano ( and Kathleen Arthur ( by June 1, 2017. 

Tags:  architecture  art  family  Italy  memory  patronage  social status 

PermalinkComments (0)

CFP: Historians of Netherlandish Art Sponsored Sessions

Posted By Stephanie S. Dickey, Sunday, May 7, 2017
Historians of Netherlandish Art ( is seeking session topics for up to three sponsored sessions at the RSA 2018 conference in New Orleans. If you are interested in chairing a session, please send a session abstract (150 words maximum) and short CV to Stephanie Dickey at: by Friday, May 12. Once sessions have been chosen, we will circulate a CFP via the HNA list.
Please note that HNA sponsorship guarantees acceptance of the session by RSA but does not provide financial support. Session chairs and speakers are required to be members of RSA at the time of the conference and should also be members of HNA. Topics should address themes of broad interest to our members (Netherlandish, German, and Franco-Flemish art and architecture 135o-1750; topics placing the arts of the Netherlands in a broader context are also welcome). 

Tags:  art  HNA  Netherlandish 


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 ( 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 

PermalinkComments (0)


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 and 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 


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 ( and Ivana Vranic ( 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 

PermalinkComments (0)

The Role of Missionaries in Asian and American Artistic Interaction

Posted By Rachel Miller, Monday, May 1, 2017

This panel invites papers that address the role that Catholic missionaries played in facilitating artistic and cultural interaction between Europe and overseas contacts in Asia and the Americas, two sites of active missionary activity in the early modern period. In this panel, we will invite a conversation that focuses on how art moved through the global missionary network of the Catholic Church from Europe to the Americas and Asia. We are also interested in papers that demonstrate the role played by missionaries in facilitating direct cross-cultural interaction between Asia and the Americas.  Possible paper topics include, but are not limited, to the following:

·      The movement of artists and works of art as facilitated by missionaries

·      The founding of missionary art schools and the exportation of students’ art works

·      Missionaries as facilitators of intercontinental artistic commissions

·      The transmission of architectural ideas through missionary building projects

·      Missionaries’ involvement in the trade of art objects

·      Artists who were members of missionary orders and were active in Asia and/or the Americas

Please submit your paper proposal by May 20 to Christa Irwin ( and Rachel Miller ( Proposals must include the following:

·      Name, affiliation, email address

·      Paper title

·      Abstract (250-word maximum)

·      Keywords

·      CV (1 page)

Download File (PDF)

Tags:  Americas  Art  Art History  Asia  Jesuits  Mendicants  Missionaries  Missions 

PermalinkComments (0)
Page 1 of 2
1  |  2
Membership Software Powered by YourMembership  ::  Legal