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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 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 

Sculpture in Rome, 1450 – 1650: New Perspectives

Posted By Joris van Gastel, Wednesday, May 17, 2017
Updated: Wednesday, May 17, 2017

Sculpture in Early Modern Rome has always enjoyed much attention. Indeed, a number of renowned artists working in Rome – first and foremost Michelangelo Buonarroti and Gian Lorenzo Bernini – have been extensively studied, as have specific kinds of monuments, such as papal tombs. Yet, many other aspects have been explored only more recently. Archival discoveries, more in-depth studies of lesser-known artists and their patrons, and a focus on more theoretical questions, have led to a wealth of new insights in Roman sculpture and its context. This session invites papers that develop a new perspective on sculpture in Rome between c. 1450 an 1650, either by offering a new reading of well-known works or by drawing attention to hitherto lesser known sculptures or less studied aspects of sculpture as an art.

Topics of interest include, but are not confined to: individual artists, workshop practice, specific commissions and works of art, the relationship between patrons and artists, the social and/or political dimension of particular commissions, contemporary perception and critical debates.

As required by the RSA, proposals should include a paper title (15-word maximum), an abstract (150-word maximum), keywords, and a very brief curriculum vitae.

Deadline: 31 May 2017

Please send your proposals to Joris van Gastel ( and Johannes Röll (


Tags:  Rome  Sculpture 

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New Research in Italian Quattrocento Sculpture

Posted By Elizabeth Petersen, Thursday, May 11, 2017

CFP: New Research in Italian Quattrocento Sculpture”

RSA 2018 New Orleans

Quattrocento sculpture in central Italy has been fundamental to the study and understanding of the Italian RenaissanceThe glow of fifteenth century sculpture has faded somewhat in recent decades, however, because of anunderstandable desire to expand knowledge about and appreciation for works outside of such long privileged areas.  A revival of interest seems to be underway, however, with the appearance of a  few recent books such as Amy Bloch’s Lorenzo Ghiberti's Gates of Paradise and some eye-opening exhibitions, such as “’Fece di scoltura di legname e colorì’. La scultura del Quattrocento in legnodipinto a Firenze.We seek proposals that continue to consider sculpture in fifteenth century Italy, but from more up-to-date points of view.  Research that encompasses new approaches to the material, such as digital and technical analysis or interdisciplinary studies, will be especially welcome.


Please email proposals to both Elizabeth Petersen ( and Martha Dunkelman ( by Thursday, 1 June 2017. Proposals should adhere to RSA guidelines and include a paper title (15-word maximum), an abstract (150-word maximum), keywords, and a very brief curriculum vitae (300-word maximum).




Tags:  art history  Early Modern  Italy  New Approaches  quattrocento  Renaissance  sculpture 

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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 


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 

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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 ( 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 

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Sculpture in Print 1480-1600

Posted By Mandy Richter, Tuesday, May 2, 2017

Throughout the 16th century, the translation of sculptures, especially contemporary ones, into prints was quite uncommon – compared to the vast reproduction of paintings or drawn inventions in engravings or woodcuts.

Sculpture posed more difficulties to the printmaker. First of all, he had to render a three-dimensional object into two dimensions. Moreover the artist had to decide whether to complement his model: be it the fragmentary state of an ancient statue or the placing of a modern sculpture into a landscape or other setting. In many cases, printmakers even designed a whole narrative to round off their work. In addition to that, they had to choose the proper or best possible viewpoint. All these decisions were based on the strategies of the sculptor or printmaker regarding the publication of the print and its intended audience.


An essential aim of this session is to assess these and other related questions by analyzing prints produced between 1480-1600 in Europe and beyond. The session will continue a fruitful discussion started at the RSA conference 2016 in Boston, which included sculpture-related terminology in print inscriptions, the transformation of ancient sculpture in the early 16th century in Italy, and contemporary sculpture and its reception and interpretation via prints.


If interested, please send an abstract (150-word maximum) with paper title, keywords, and a brief curriculum vitae (300-word maximum) by May 21 to Anne Bloemacher ( and Mandy Richter ( Submissions must be in English.


Tags:  art history  imitatio artis  print culture  reception of antiquity  reception of contemporary sculpture  reproductive prints  sculpture 

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Imagining the Heretic: Visual Narratives

Posted By Lara R. Langer, Friday, April 21, 2017

CFP: RSA 2018

Imagining the Heretic: Visual Narratives


Religious and social strife in the Early Modern period gave rise to a host of “heretics,” including significant thinkers like Savonarola, Luther, Campanella, or Bruno and commoners accused of heretical acts. The religious reshaping of Europe led to massive groups of people being indiscriminately labelled “heretics” according to faith despite instances of nicodemism. While the famous cases got reasonable exposure, the lesser known examples could serve to further understand this multifaceted “geography of the heretic” in Early Modern Europe. This panel is interested in the process of historicizing, memorializing, and imagining the heretic. Papers may address issues related to images of heretics as incriminating, exonerating, or ambiguous statements of one’s orthodoxy. What does art tell us about the life, death, and burial practices of a heretic? How could a heretic navigate the tensions between group and individual identity? How was the notion of “heretic” contextualized beyond its European borders?


Please send an abstract of 150 words maximum, a title of 15 words maximum, and a brief CV of 300 words maximum to Silvia Tita at and to Lara Langer at by May 30, 2017.

Tags:  Art  Art History  Early Modernity  Heresy  Heretic  Medal  portraiture  Sculpture  Spanish and Italian Renaissance 

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