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Art History CfPs for RSA 2019 Toronto
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This blog is for CfPs for sessions in art history for RSA 2019 Toronto. 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  art  material culture  architecture  visual culture  literature  cultural history  patronage  urban spaces  religion  circulation  global  images  artists  gender  identity  Italian art  print culture  seventeenth century  urbanism  devotion  early modern  early modern global exchange  exoticism  history  interdisciplinary  mobility  representation  social history  art history; landscape; early modern global exchan 

The “Oltramontani”: Northern Artists in Italy, 1450-1600

Posted By Sharon L. Gregory, Tuesday, August 7, 2018
Updated: Tuesday, August 7, 2018

Italy may not have been a united country during the Quattrocento and Cinquecento, but Italians were nonetheless sure enough of their distinct identity within Europe that writers, including the artist-biographer Giorgio Vasari, referred to visitors from northern countries in generic terms as “oltramontani” – “those from over the mountains.” Of course, the oltramontani themselves formed distinct cultural groups, and sometimes saw in the artworks they encountered south of the Alps strong distinctions in artistic style that would have surprised Italian artists and theorists.

This session seeks to focus on the Italian experiences of the oltramontani themselves, while also allowing for an examination of artistic exchange and cultural translation resulting from the mobility of Northern European artists and their forays into the Italian peninsula during these centuries. Why did Northern artists travel to Italy? What did Northern artists register in their encounters with Italian artists and places? What artistic motifs, materials and technologies were discovered and exchanged?

This session affords an opportunity to reconsider well-known cases such as Dürer’s foray(s) into the Veneto and the pilgrimages to Rome of Netherlandish artists such as Maarten van Heemskerck and Lambert Lombard. But we also encourage the study of visits by well-known artists to places outside major centers of artistic production, and the study of travels by less well-known artists.

Please submit proposals to Sharon Gregory (sgregory@stfx.ca) by 12 August 2018, and provide the following: paper title (15-word maximum); abstract (150-word maximum); short CV in .pdf or .doc format; PhD completion date; keywords.

Submission guidelines at: https://www.rsa.org/page/2019SubmissionsGuide.

Tags:  art history  artistic exchange  artists' travel  cultural translation 

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Early Modern Technologies of Art Making (Deadline Extended)

Posted By Ivana Vranic, Sunday, August 5, 2018
Updated: Monday, August 6, 2018

Can technologies of art enable us to reconsider the early modern interactions between “local” and the “global?” Seeking to answer this question, the proposed panel takes up art technology as a hermeneutic tool to analyze production of art in the early modern period. In this period, technologies of art involved specialized and often localized practices that required systematic application of techniques, materials, and tools that did not travel as readily as the objects they helped to generate. Although embedded in cultural objects, artworks and materials exchanged across the Silk Road and the Oceanic networks of trade, art technologies were seldom known to those who acquired these objects of cross-cultural exchange. In contrast to the mobility of inimitable artifacts and images art technologies were often intangible and unknown, which heightened the foreignness and desirability of objects produced with their application. Attempting to recreate foreign objects using local technologies, practitioners across Europe, Near East, Asia, and the Americas made all kinds of hybrid things—things that were neither local nor foreign, but uniquely, early modern. 

 

Notable examples of objects and materials evoking the hybrid forms of early modern art production include Indian dyed textiles that mirrored Dutch prints, Mexican feather painting that turned an “Old-world” technology into a “New World”-adaptation, Renaissance images that reproduced Ottoman carpets, embroideries, and metalwork, as well as Chinese silk and porcelain, and Japanese lacquer. Dyestuff, namely Cochineal, voyaged with the European travellers from the South Americas to Europe and stimulated conversations on dyeing techniques. Exploring some of these and other examples, papers can investigate any subject or object of visual and material culture that throws light on how art technologies can expand and enrich our understanding of the early modern world. 

 

The proposed panel will be chaired by Dr. Pamela H. Smith (Columbia University).

 

Please send your 150-word abstracts, along with a title, keywords, and a CV (300 words maximum and not in prose) to Rajarshi Sengupta (rajarshisengupta22@gmail.com) and Ivana Vranic (ivana7vranic@gmail.com) by August 13, 2018.

 Attached Files:

Tags:  art collections  art technologies  early modern visual and material culture  local-global interactions  objects of exchange 

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CfPs: Defining Space: Walls and Cities in the Early Modern World

Posted By Luis J. Gordo Pelaez, Thursday, August 2, 2018

Walls have been an omnipresent feature of human settlements since ancient times. Even today they continue to be apart of our daily life and discourse, whether for politically driven purposes (i.e. US border “security”) or satyr (i.e. the now defunk website, Bricking it for Canada). Whether ancient or contemporary, walls have contributed to defining and redefining spaces, creating a sense of place and identity, demarcating physical boundaries, and imposing socio-economic hierarchies of inclusion and exclusion. In the context of early modern cities, walls experienced a resurgence as a consequence, among others, of expanding empires and colonizing efforts, the development of warfare technology and new systems of fortification, and the implementation of directives regarding the distribution and use of urban space. Whether materialized or not (Richard Kagan has examined their absence in inland colonial Spanish America), walls were a common occurrence in the schemes of early modern urban theorists and planners, and a frequent instrument of discussion in the political and socio-economic plans of absolute regimes, particularly in foreign dominions. For better or worse, walls have maintained their relevance. Framed by contemporary understandings of walls, this session aims to examine the relationship between cities and walls during the early modern era from a global comparative perspective. Papers that interrogate this interplay in any of its manifestations (conceptualization and building, notions of agency and perception associated with these infrastructures, the dichotomy inside/outside, narrative and graphic representation, and materiality) during the period 1300-1700 are particularly welcome to this comparative panel. 

 

Please send paper titles (15-word max.); abstracts (150-word max.); brief CVs; PhD competition date (past or expected); full name, current affiliation, and e-mail address to organizers (Cody Barteet, cbarteet@uwo.ca; and Luis Gordo-Peláez, luisgordopelaez@csufresno.edu) by August 8, 2018. Submission guidelines are available at https://www.rsa.org/page/2019SubmissionsGuide .

Tags:  architecture  art  art history  city  cultural history.  early modern  history  identity  literature  material culture  representation  seventeenth century  sixteenth century  social history  urban spaces  urban studies  urbanism  walls 

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Violence and Trauma in the Early Modern World

Posted By Colin S. Rose, Wednesday, July 25, 2018

Call for Papers for RSA 2019: Violence and Trauma in the Early Modern World

 

Recent historiography has stressed the centrality of violence to early modern history. Interpersonal violence, state violence and military violence have all come under scrutiny for the ways that violence shaped lived experiences and disrupted civil society. This panel seeks to expand on this growing school of thought by asking: how did the trauma wrought by violence and crisis change people’s perspectives on the world around them? Were people inured to its impact, were they fascinated by the danger in their streets, were they deeply troubled by the instability of the world around them? This is an interdisciplinary call for proposals for papers for RSA 2019 Toronto dealing with any aspect of violence and trauma in the early modern world. Papers may address history, literature, art, philosophy or any combination of disciplines present at the RSA in order to build a productive interdisciplinary conversation.

 

Please send:

  • paper title (15-word maximum)
  • abstract (150-word maximum)
  • curriculum vitae (.pdf or .doc upload)
  • PhD completion date (past or expected)
  • full name, current affiliation, and email address

 

to Colin Rose (crose@brocku.ca) by AUGUST 5th 2018

Tags:  history  interdisciplinary  trauma  violence 

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Landscapes of Alterity, c. 1500-1700 [extended deadline: August 6, 2018]

Posted By Francesco Freddolini, Wednesday, July 25, 2018
Updated: Wednesday, July 25, 2018

Organizers: Erin E. Benay and Francesco Freddolini

 

Early modern prints, frontispieces, book illustrations, and paintings often imagined Asia, Africa, or the New World in terms of its ecosystem. These images, designed with European readers/viewers in mind, provided early modern audiences with glimpses of distant geographies and landscapes, real or imagined. For instance, Jacopo Stradano’s landscapes in his Nova Reperta series, although figments of the artist’s imagination, play a crucial role in defining lands that are waiting for European appropriation. Similarly, the landscapes in Albert Eckhout’s or Frans Post’s paintings contribute as much to the complexity of otherness and discourses of colonization as do the figures in these pictures.  The people, flora, and fauna illustrated in Athanasius Kircher’s China Monumentis exist in landscapes that fully participate in the construction of such images’ meanings.  

The authors of sixteenth and seventeenth-century textual accounts of foreign lands similarly attempted to characterize the most marvelous topographic features of distant lands. However, scholarship on these images and texts has often focused on the proto-ethnographic way in which these sources could convey ‘information’ (however inaccurate) about the landscapes from which the products derived.  Alternately, scholars have considered the collection of foreign, ‘exotic,’ natural specimens (bulbs, plant samples), animals (living or represented), and other natural ‘wonders’ as components in microcosmic studioli or Wunderkammern, or have privileged the images that isolate specimens of flora and fauna from their ecosystem.

Rather than see flora and fauna as curiosities, devoid of spatial context, however, we hope to explore instead the ways in which early modern artists imagined, represented, manipulated, and invented non-European landscapes. Landscape, as a genre, had a long-standing and codified tradition in early modern Europe. By interrogating the ways in which this tradition accommodated or contributed to narratives of colonization and empire-building, we hope that we might better understand the agency of landscape as a genre and as a forum for the construction of ‘foreignness.’  We seek papers that focus on the spatial, cultural, and natural context of landscapes as sites for the production of knowledge and for the evolving discourse of ‘otherness’ in early modern Europe.  Papers in this session might address the following questions:

·         How does the genre of landscape incorporate observation, specificity (real or illusory), and notions of scientific accuracy to evoke the ‘exotic?’

·         In what ways did artists force the limits of the genre, or manipulate the veracity of the landscape in order to comply with the conventions of the genre, while representing non-European landscapes? 

·         In what ways did artists (such as Frans Post or Albert Eckhout) work to shape European conceptions about foreign places?

·         How did the diverse, and often competing agendas of various European countries shape the way in which foreign lands were represented, for example as welcoming, hostile, civilized, built, or savage?

·         How did foreign landscapes, often manipulated to comply with the conventions of the European genre, accommodate local architecture? How are the tensions between colonial architecture and foreign ecosystems articulated by artists?

 

Please submit proposals to Erin Benay (eeb50@case.edu) and Francesco Freddolini (francesco.freddolini@uregina.ca) by August 6, 2018. Proposals should include a paper title (15-word maximum); and abstract (150-word maximum); keywords; and a brief academic CV (300-word maximum). Submission guidelines available at https://www.rsa.org/page/2019SubmissionsGuide .

Tags:  alterity  art history  colonialism  early modern global exchanges  exoticism  landscape  print culture 

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Illustrated Album Amicorum

Posted By Margaret F. Rosenthal, Tuesday, July 24, 2018
Updated: Tuesday, July 24, 2018

 

CALL for PAPERS: This panel is proposed for the annual Renaissance Conference of Southern California (March 10, 2019) at the Huntington Library.

Illustrated Alba Amicorum

The illustrated album amicorum (album of friends) is a singular visual example of early-modern travelers’ fascination with swiftly-changing fashions, regional customs, family lineage, and manuscript decoration. It preserves depictions of dress, local scenes of work and entertainment, modes of transportation, festivals, games, and civic rituals, and reveals major changes in fashionable and luxurious clothing and accessories. Uniting the printed book and the illustrated manuscript to transmit knowledge and thinking across early-modern Europe, it was often a luxury object in and of itself, thereby materializing within its pages an expanding world economy. Other important uses of the album amicorum were as modes of philosophical thought;  testaments to friendship; a locus where university students could freely use and manipulate the visual to reflect on serious philosophical questions outside of the classroom setting; and a vehicle for provoking laughter and pleasure. A fluid genre allowing for the coexistence of different visual genres (prints, emblems, frontispieces, fashion and costume plates) within its pages, this panel invites papers that will broaden our understanding further about its multiple uses during the early-modern period.

As per RSA guidelines, paper proposals should include the following: paper title (15-word maximum), abstract (150-word maximum), a few keywords, and a very brief curriculum vitae (300-word maximum). Please send to session organizer Margaret (Tita) Rosenthal (mrosenth@usc.edu) by August 5, 2018.  

Tags:  manuscript illustrations; book illustration; fashi 

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Deadline extended - The Stones of Venice: Reframing Sculpture and Architecture in the Seicento

Posted By Stefano Colombo, Saturday, July 21, 2018
Updated: Saturday, July 21, 2018

 

The seventeenth century is a crucial yet still largely understudied period within the history of sculpture and architecture in Venice and the Veneto. On the one hand, the arrival of foreign sculptors and architects contributed to the development of a Baroque vocabulary that both reupdated and surpassed the classicism which had characterized the Venetian Renaissance. On the other, events which deeply affected Venetian history in the seventeenth century, such as the military campaigns of Candia (1645-69) and Morea (1684-99) or the ennoblement of non-Venetian families, incentivized a celebratory rhetoric that emphasized themes such as the service to the state or moral and dynastic nobility. Largely discredited by Romantic and Neoclassical scholarship as predominantly anti-intellectual and only partially re-evaluated in the twentieth century, Venetian Baroque sculptors and architects were concerned with finding novel and unusual ways to seduce the viewer and to elicit his or her attention. Equally important, seventeenth-century observers praised the exceptional craftsmanship of sculptural and architectural works in their written commentaries or other works of epideictic literature. As a result, these factors impacted on sculptural and architectural works as a form of public imagery which both reshaped and complemented the so-called “myth of Venice” in new ways. 

 

This panel seeks to fill the gap between art-historical analyses of Venetian sculpture and architecture in the Seicento and interdisciplinary, methodological or theoretical approaches to the study of the Venetian Baroque. It aims to reframe sculptural and architectural practices by addressing questions related to the style, significance, iconography, execution and reception. We invite proposals that explore the originality of sculptural and architectural works in the Venetian setting and help reassess them as places of artistic innovations. Possible topics could include, but are not limited, to the following:

 

·      Foreign sculptors and architects in seventeenth-century Venice and the Veneto

·      The sculpture and architecture of altarpieces and of Venetian churches

·      Sculpture and materiality

·      Rethinking style as a tool to convey artistic originality in Venetian Baroque sculpture and architecture

·      Visual or verbal response to sculpture and architecture 

·      Funerary and commemorative monuments

·      Baroque reinterpretations of classical antiquity 

 

 

Please send an abstract (150-word maximum), a paper title (15-word maximum), keywords, and a brief curriculum vitae to Stefano Colombo (s.colombo.1@warwick.ac.uk) and Meredith Crosbie (crosbiem21@gmail.com) by August 10, 2018.

Tags:  Architectural treatises; architecture; Art History 

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CFP -- Hagiography Society

Posted By Alison K. Frazier, Friday, July 20, 2018

HAGIOGRAPHY SOCIETY

Call for Paper, Panel, and Roundtable Proposals

Renaissance Society of America Annual Meeting

Toronto 17-19 March 2019

DEADLINE EXTENDED!!! 

The HAGIOGRAPHY SOCIETY invites proposals from all academic disciplines for the Toronto 2019 meeting of the Renaissance Society of America. We welcome individual papers, full panels (normally three papers, with a session chair and an optional respondent), and roundtable discussions (normally five-eight presenters).

Any topic that intersects with “sanctity in the Renaissance” is welcome: shrines, liturgies, relics, processions, miracles, laude, legendae, vitae and re-writings, sculptural and frescoed vitae. We welcome innovative approaches to the varied types of sanctity: political saints, family saints, aspiring saints, heretical saints, child saints, pilgrim saints, healing saints, warrior saints. We especially invite papers that examine saints beyond Europe, that explore holy gender beyond the binary, and that take up “Renaissance medievalism” as expressed in hagiographic revisions.

As an Associate Organization of the RSA, HS may field as many as four panels. Sponsorship of a panel by the AAR-SOF normally means that the panel will be accepted by the RSA Program Committee without further vetting, provided the panels comply with the RSA guidelines.

Proposals should include all the information listed in the RSA Submission Guidelines here: http://www.rsa.org/page/2019SubmissionsGuide#proposalcomponents .

Note the restricted length of proposals. Incomplete proposals will not be considered.

Everyone who presents at the annual meeting must be a member of RSA at the time of the meeting: http://www.rsa.org/page/2019SubmissionsGuide#membership .

Proposals should be sent to Alison Frazier (akfrazier@austin.utexas.edu) and Barbara Zimbalist  (bezimbalist@utep.edu) by 5 August 2018.

Anyone whose proposal is not accepted for the HS-RSA panels will be informed in time to submit as an individual. Please note, though, that those submissions will be evaluated by the Program Committee of the RSA.

Tags:  gender  global  hagiography  liturgy  re-writing  saint  sanctity  shrine 

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CFP - Deadline Extended - Embodying Value: Representing Money in the Early Modern Period

Posted By Natasha Seaman, Friday, July 20, 2018

Call for Papers – Deadline Extended

 

Embodying Value: Representing Money in the Early Modern Period

 

Joanna Woodall and Natasha Seaman, co-organizers

 

As media of exchange, coins were essential to trade and economic development in the early modern period. Their double-sided form and the precious materials from which they were made had deep resonance in European culture and beyond. The efficacy of coins depended on faith in their inherent value, yet they were subject to debasement and counterfeiting.  This session seeks papers that explore the signifying potential of money in works of art and how abstract concepts of value intersect with and are figured in material and monetary forms. While the art market may have some relevance to this subject, papers selected will have as their primary focus the particular character of coins and other means of exchange as physical and semiotic entities, money as it appears within images and texts, and how concepts of money and currency can inform our understanding of works of art in this period.

 

This is a continuation our 2017 sessions on the same topic. Abstracts submitted will also be considered for inclusion in an edited volume.

 

Possible topics include, but are not limited to

 

Depictions of coins in exchange, gifts, or theft

Represented coins in still lifes and kunstkammers

Coins as metaphors in literature

Coins and the production of knowledge

Counterfeiting and debasement in works of art

Coins in relation to portrait medals, seals, or pilgrimage badges

Coins and the Eucharist and/or Incarnation

The materiality, design, and production of coins in relation to their value and use

Assertions of value in bills of exchange

Coins and the material mechanisms of exchange with the New World

 

Please send proposals to Natasha Seaman (nseaman@ric.edu) and Joanna Woodall (Joanna.Woodall@courtauld.ac.uk) by Friday, July 27, 2018.

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). See
http://www.rsa.org/?page=submissionguidelines#CfP

 

 

 

 

Download File (PDF)

Tags:  bills of exchange  coins  currency  medals 

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In Search of the Canon: Poets and Artists Confronting with their Models (c. 1500-1700)

Posted By Maria G. Matarazzo, Thursday, July 19, 2018

The theory of Imitation was a central topic of discussion in the ‘Republic of Letters’. The European community of humanists, philosophers, poets and artists was engaged in the dispute over the models to refer to during the creative process. How to develop a normative canon as a reference point for artists and writers in the practice of Imitation? Which poets and artists to select as the examples of ‘bello stile’?

While the authority of ancient models was universally acknowledged, the building of a canon of modern masters was under discussion. One of the typical environments of this discussion were the Academies, where writers, artists, philosophers, antiquarians gathered around learned patrons.

Considering the interdisciplinary nature of this debate, this panel aims to explore the construction of a canon through a comparative and interdisciplinary perspective. The main purpose is not only to study the mechanisms implied in the building of the canon but also to bring out the intersections between Art and Literature concerning this topic.

Questions to be considered include but are not limited to: the institutions where the debate took place, with a particular focus on the Academies; rhetorical devices for debating the canon and the metaphors of Imitation; the circulation of the canon through publishing, printings, new editions and reproductive printmaking; the impact of the canon on the teaching practices.

 

Please submit proposals to Ida Duretto (ida.duretto@sns.it) and Maria Gabriella Matarazzo (mariagabriella.matarazzo@sns.it) by August 12, 2018.

Proposals should include a paper title, an abstract (150-word maximum), keywords and a CV (300-word maximum).

Tags:  academies  Art History  book history  cultural history  early modern  history of reading  history of the book  Imitation  interdisciplinary  literature  mimesis  patronage  philology  Poetry  print culture  publishers  reproductive prints  the canon  visual arts 

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