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RSA Dublin 2021 Calls for Papers
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This blog is a space for RSA members to post calls for papers and lightning talks for sessions in all disciplines to be held at RSA Dublin 2021. Papers could be solicited for a traditional panel or a seminar session which will have pre-circulated papers.

To post a CfP, log in to your RSA account and select the "Add New Post" link further down this page. Make sure to include the organizer's name, email address, and a deadline for proposals. The session organizer is responsible for uploading the finalized proposal to the RSA Dublin 2021 submission site.

The general submission deadline for RSA Dublin 2021 is 15 August 2020. For more details on the submission process, see the Submission Guidelines page.

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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Renaissance Bergamo: At the Edge of the Venetian Terraferma

Posted By Emanuela Vai, Friday, July 10, 2020

Present day Bergamo is bifurcated into an upper and lower portion of the city by the Venetian walls, built in 1561-1623 to discourage Milanese northward expansion, as well as to limit contraband trade. Bergamo was one of the most important of the strong points fortified by the Venetian state in the sixteenth century, through its position at the end of the chain in acting as the true shield of all the other cities, as one of its officials described. Resting among the foothills of the Bergamasque Alps, it lies a mere twenty-five miles northeast of the Spanish duchy of Milan. Under Venetian rule, Bergamo was the westernmost fortress town of the Venetian Republic’s terraferma empire. In addition to the Milan/Venice border, Bergamo sat at an important crossroads between the Venetian Republic, German lands north of the Alps, and other Italian city states. This begs the question, why is a location such as Bergamo, crucial as both an interregional communication point between the Venetian Republic and other parts of the Italian peninsula, largely side-lined in Renaissance and Early Modern studies?

Recent studies in Renaissance geopolitics have highlighted the important strategic role of liminal cities and their function in wider socio-political landscapes. To this end, this CFP invites paper proposals for a series of interdisciplinary panels from scholars working in musicology, art history, cultural history, book history and material and visual culture studies looking at Bergamo at the dawn of the early modern period. The aim is to rethink and reassess critical perspectives within Venetian Studies from the analysis of the Venetian state’s borders, with a view to an edited collection on the subject.

Topics could include/address, but are not limited to:

  • Architectural languages
  • Codicology
  • Confraternity studies
  • Education studies
  • Mediation and circulation of music
  • New technologies and historical research
  • Practices of patronage, collecting and selling art
  • Regionalism, mobility and cultural exchanges
  • War history
  • Women’s studies

As per RSA guidelines, proposals should be submitted in English and should include:

  • Paper title (15-word max)
  • Full name, current affiliation, and email address
  • Keywords (4 max)
  • Abstract (150-word max)
  • Short bio (150 words)
  • Short CV (2-page max)

Please send your proposal to Emanuela Vai (Worcester College, Oxford) and Jason Rosenholtz-Witt (Northwestern University, Chicago) by Wednesday, 5 August 2020:

Tags:  Art and Architecture  Art History  Book History  Italian Renaissance Art  Italy  lay brotherhoods  lay sisterhoods  Music  Religious Studies  Renaissance Architecture  Urban Studies  Veneto  Visual Studies 

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A Fresh Look at Fresco in Venice

Posted By Lorenzo Buonanno, Wednesday, June 17, 2020

Since the sixteenth century the place of Venetian painting within the history and theory of art has been inextricably linked with the use of oil paint on canvas. Yet the city was once renowned for its frescoes too. Noting that the palaces along the Grand Canal were all painted, the French envoy Philippe de Commynes, visiting in 1495, deemed it the “most beautiful street in the entire world.” Francisco de Hollanda (1548) described the entire city as one enormous “good painting.” Even Lodovico Dolce, whose treatise L’Aretino (1557) promoted the idea of a distinctly Venetian mode of painting exemplified by Titian, predicated largely upon the looser handling and chromatic range of oil paint (colorito), praised Venice’s frescoed facades over those clad in more luxurious, and durable, polychrome marble.

It was known that the city’s humid and saline climate was ill suited to the medium—a fact more than attested to by the scant remains of the city’s early modern frescoes. Modern scholarship treats fresco largely as an aside in the history of Venice’s art. Still, Venetian patrons continued to commission works in fresco for exteriors as well as interiors throughout the early modern era—even into the nineteenth century. Nearly every major painter in sixteenth-century Venice, from Giorgione to Tintoretto, painted in fresco at some point in his career.

What was the “place,” then, of fresco within Venetian art? This session aims to examine where fresco fits within the city’s artistic economy, within the technical and critical processes of its artists, and within the critical reception and historiography of its art.

This session welcomes papers focused on the medium of fresco in Venice and the Veneto from c.1400 to c.1800. Potential topics might include, but are not limited to: conservation or technical studies on surviving frescoes; documentary or iconographic studies of specific works; patronage of frescoes; comparative studies of works in fresco and oil; broader studies that broach underlying critical or historiographic issues regarding this medium in Venice.

Please send title of paper, abstract (150 words max), and brief CV (1 page max) as a single document to by August 10th, 2020.

*Please note that all speakers must become members of RSA in order to present their papers in the conference.

Tags:  Art and Architecture  Art History  Fresco  Italian Renaissance Art  Material Studies  Materiality  Tintoretto  Titian  Veneto  Venice  Veronese 

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