The IAS sponsors and supports a number of conference sessions and lectures each year. In addition to IAS-Sponsored Conference Sessions and an annual lecture co-sponsored by the Samuel H. Kress Foundation, the IAS posts calls for papers and opportunities to attend other conferences related to Italian Art. If you have a conference or lecture that should be posted here, please contact the webmaster.
CFP: ARTEMISIA GENTILESCHI. INTERPRETING NEW EVIDENCE, ASSESSING NEW ATTRIBUTIONS
Deadline 15 August 2014
7 May 2015, Florence, Italy. Read abstract
CFP: MIGHTY PROTECTORS FOR THE MERCHANT CLASS: SAINTS AS INTERCESSORS BETWEEN THE WEALTHY AND THE DIVINE.
Deadline 15 September 2014
14-17 May 2015, International Congress on Medieval Studies, Kalamazoo. Read abstract
By the late medieval period, merchants formed an integral part of urban society; among their activities, they facilitated trade between city centers, participated in the governing of cities, and were patrons of churches and monasteries. At the same time, the wealth that they amassed and their sometimes morally dubious activities, such as money lending, often left merchants fearful of what the afterlife would bring, causing them to appeal directly to specific saints for intercession. This session seeks to explore the religious lives of these elite members of urban society, specifically considering the individual holy persons to whom merchants appealed for their earthly protection and heavenly salvation as well as the manner in which they made these appeals. As an interdisciplinary discussion of the relationship between merchants and their holy protectors, this session will invite papers examining evidence of specific relationships between merchants and the saints and/or Mary. Papers might consider merchant’s wills, tombs, artistic patronage, manuscript collections, and pilgrimage, as well as the religious practices of merchants’ confraternities and guilds. The session will welcome papers from all disciplines including, but not limited to, history, art history, literature, religious studies, and music. Please submit abstracts of no more than 300 words and a participant information form
by email to Emily Kelley
FAMILY PATRONAGE IN EARLY MODERN GENOA, ROME, AND VENICE (1500–1750)
8 September, Rome, Bibliotheca Hertziana—Max-Planck-Institut für Kunstgeschichte. Study Day. Read abstract
Among the increasingly monarchic arena of Early Modern Europe, the powerful Italian cities of Genoa, Rome, and Venice are exceptional. Genoa and Venice, the largest remaining republics in Italy, predominated the financial, mercantile, and military spheres of the Mediterranean. Rome’s religious authority and historical cachet, along with its sizable territory, were the foundations of its leading position. All three of these cities stand out for their oligarchic power structures; while Genoa and Venice were led by governments elected from a restricted book of families, Rome fostered an aristocracy both parallel to and participating in the electoral principle of the Papal court. Therefore, in the absence of hereditary lords, power and prestige was shared among the ruling families. As a result, in all of these cities, the families could remain powerful even as the government changed. Central challenges for these cities’ aristocratic families were how to figure their relationships to local power structures and balancing their own interests against those of the communal state. The particular social-political contexts nurtured different forms and strategies of representation than those deployed in monarchic and ducal societies. The oligarchic aristocracy had to submit to an abstract concept shaped by values and virtues such as equality and liberty rather than to a dynastic authority. Each of these societies experienced turning points when their political structures shifted and opened to new families—be they from outside the city or from non-noble stock—and their ruling classes sought new methods of representation and patronage to assert their role in the changed social scene. The reforms of 1576 to Genoa’s oligarchic government, the rising status of papal families in seventeenth-century Rome, and the opening of the Libro d’Oro in the context of Venice’s wars against the Ottoman Turks in the late seventeenth century were all moments from which such changes arose. Against this background, this study day seeks to compare the demands and strategies of art and architectural patronage among these non-dynastic aristocratic groups. Although Genoa and Venice have often been mentioned in chorus, they have never been directly and critically compared. Because of their diverse political alliances and statuses, the differences in their governmental structures, as well as their differing territorial dispositions, two distinct types of an early modern republic developed. Furthermore, the exemplary role of Rome for the non-monarchic sphere—its permeable system of social ascension—still asks for a more differentiated view. For more information, please visit: www.biblhertz.it
. Questions may be directed to Benjamin Eldredge (Bibliotheca Hertziana) and Bettina Morlang-Schardon (Bibliotheca Hertziana)
RENOVATIO, INVENTIO, ABSENTIA IMPERII: FROM THE ROMAN EMPIRE TO CONTEMPORARY IMPERIALISM
11-13 September, Brussels. Read abstract
At the occasion of the 75th anniversary of the Academia Belgica Conference organized by the Academia Belgica (Rome), with the support of the Belgian Historical Institute in Rome, and the Princess Marie-José Foundation, an international conference with confirmed keynote speakers: Wim Blockmans (Leiden University), Christophe Imbert (University of Toulouse-Le Mirail), Martin Kohlrausch (KU Leuven), Christoph Schönberger (Konstanz University). Publication of the proceedings will take place after the selection and evaluation of the definitive papers. At the heart of the present conference will be the ‘reception’, ‘Nachleben’ or ‘permanence’ of the Roman Empire, of an idea and a historical paradigm which since Classical Antiquity has supported the most widespread claims to obtain and consolidate power. The focus will be on ‘culture’, this latter concept intended in a broad sense, i.e. including not only the arts, architecture, literature etc., but also philosophy, religion and, most importantly, discourse. As such, a wide array of themes will be subjected to academic scrutiny. Whereas the main focus will be on Europe and North America, this conference will also reach out towards non-Western contexts, whether or not directly related to the Roman example. A theoretical and sociological dimension will join, and ideally integrate, the discussion, by means of the involvement of methodological issues relevant to the conference theme. More specifically, the following question(s) will receive particular attention: what is our position as researchers, embedded in a contemporary, often Western, democratic and capitalist context; what about the notion of empire itself, its constituent elements and the kind of ideological prerogatives to which it is generally subjected; in other words, apart from the many historical variants and instances of reception of empire, through which filters can, and inevitably do we approach this topic? Because the world has changed ever more radically since the beginning of the 21st century: after the dissolution of the Soviet Union, the events of September 11, 2001 have inaugurated a revivified American ‘imperialism’, whereas at about the same time an essentially economic variant, driven by ‘emerging’ powers such as China, has increasingly contested existing power structures. In light of such meta-historical awareness, the present conference will as much inform about the nature of the Roman Empire as it will about its historical legacy and, more importantly so, those who claim the latter inheritance throughout the most diverse epochs. Indeed, by discussing some highly contrasting views upon this topic, participants will explore issues that are of fundamental importance to the writing, creation and negotiation not only of cultural history, but also of history itself. The conference will consist of a series of thematic sessions, each of which will offer viewpoints originating from the most varied temporal and geographical contexts. Questions may be sent by e-mail
- Session °1: Rome and its heritage. The legacy of the Imperium Romanum in European culture from Classical Antiquity to the rise of the European superpowers (1st century-19th century CE) In ancient Rome, the idea of empire was carefully crafted in the late republican and early imperial period and it proved resilient throughout European (and later also American) history. Roman imperial performance became the cultural and political hallmark for the aspirations of medieval kings and emperors of the feudal era, for rising State power across the early modern period and for European colonial expansion from the sixteenth century onwards. Imagery and rhetoric mirrored the great classical authors and politicians. Roman architecture set the scene for demonstrations of power and ideology. If the renovatio imperii inspired early Western monarchs like Charlemagne, it was Roman law that catered for State centralization of the rising European States from the late Middle Ages onwards and laid the foundations for State power and the authority of the prince, as well as for the attitudes of kings and dukes during the Renaissance. But at the same time ideas of republicanism and resistance against power yielded by one level of authority also claimed descent from Rome. Indeed, as further exemplified by, most notably, the growing interest in the Roman Empire during the Enlightenment as well as under Napoleon I (see also Ingres etc.), the historical exemplum offered by the Roman Empire is of an extremely versatile and multifaceted nature, and its applicability cannot by any means be confined to one single interpretation.
- Session °2: Radically changing perspectives on a historical category: the Roman Empire in the contemporary era Since the French Revolution, which, in a process of ‘nationalization of the masses’ (Mosse), posited the interests of the people at the core of political and societal debate, the heritage of ancient Rome has been the object of intense negotiation. In this period of high stake discussion concerning the boundaries and legitimacy of individual and collective power, nations and empires were created. Throughout the 19th and 20thcenturies, ancient Rome was a historical predecessor from which lessons could be learnt, examples drawn. Whereas on a sociological level, Roman republicanism inspired much fervour, arguably the idea of empire has subsequently been responsible for most of the key defining moments in world history: from instances of aggressive nationalist politics in the nineteenth century to the twentieth-century rise and fall of popular, fascist and communist power structures, from the definitive sanctification of the USA as the only real Western superpower in 1945 to its virtual omnipotence during recent years, from colonialism to post- and neo-colonialism, Roman imperialism has lost none of its relevance, whether as an historical exemplum or, alternatively, as an ominous caveat. This session intends to further explore the current, and indeed also future, fate of the Roman Empire, offering as it does various assessments of how contemporary civilizations have claimed, shaped and also radically rejected, the cultural heritage of Rome in their struggle for power and legitimacy.
- Session °3: The imaginary empire. Performance and representation of power In the visual arts, the reference to the Roman Empire has always maintained a certain relevance, whereby the exaltation of imperialist-monarchic power has continued unabatedly in subsequent epochs, starting with the medieval Byzantine, Carolingian and Holy Roman Empires. At the same time, pagan figurative models were adapted in order to meet the ideological requirements of Christianity, a process which led to vociferous debate regarding the status of imagery, as well as, ultimately, to instances of iconoclasm. Consequently, the Renaissance has intensified the interest in Graeco-Roman antiquity, in search of a pureness which was often more the product of imagination than a tangible reality. Through a certain interpretation of Vitruvius, attempts were also made to rival with Roman imperial architecture, as a testimony and legitimisation of power and authority. Culminating in the so-called Querelle des anciens et des modernes, the appropriation of antiquity has indeed remained a core issue in art history throughout the centuries. Various explorations and transformations of the highly realistic formal language of Roman art, the sublimation of the arts by totalitarian States and Empires (from Charlemagne to Napoleon, from Stalin to Hitler and Mussolini), modern interpretations of artistic theories have been founded on the myth of Greek but also Roman antiquity. It is to the exploration of such themes that this session is dedicated, whereby participants will trace their presence in the visual arts, music, and literature.
- Session °4: Empires without Rome? In contrast to European (and American) empires, the idea, and performance, of empire as inspired by ancient Rome was less obvious outside the Western world. Yet some imperial development in the Islamic world (the Ummayad and Abbasid caliphates in the Middle Ages and the Ottoman empire from the fifteenth century onwards) built on art, images and administrative concepts of the Imperium Romanum (and its direct successor in the Eastern Mediterranean, the Byzantine Empire). In other parts of the world, classical Rome was only heard from a great distance or was even a foreign concept. This session wants to explore how the idea of empire was lived in China, the Indian subcontinent, and in the Islamic World. Did Han, Tang, Sung, Ming or Qin China develop different concepts or performances of empire or were Mongol tribal organization or Mughal India with its Islamic foundations influenced, through their contacts with Abbasid, Fatimid, Mamluk or Ottoman empires, by older Roman ideas? And finally, when in the course of the 18th and 19th centuries European colonial power invaded these very different empires, did the European, and therefore Roman, concept of empire transpire in local culture, i.e. traditions of representing and performing imperial ideology? Alternatively, this session will also allow for discussion concerning empire ‘without empire’: in an era of unprecedented global economic crisis, in a world that has become a ‘global village’, globalization and international financial capitalism have been characterized as the most recent translations of empire, of the interplay between personified ‘financial markets’ which herald the advent of a reinvented kind of empire.
CULTURAL ENCOUNTERS AND SHARED SPACES IN THE RENAISSANCE CITY, 1300-1700. A CONFERENCE IN MEMORY OF SHONA KELLY WRAY
12-13 September 2014. University of Manitoba, Winnipeg, Canada. Read abstract
Recent scholarship in the history of information, art, and science has emphasized how knowledge and ideas flowed in varied ways and circulated between people of different social status with distinct levels of formal education and access to power. This interdisciplinary conference
seeks to explore in greater depth the ways that material spaces of the early modern city functioned to facilitate cultural encounters and the nature of these exchanges. Where did the exchange of knowledge take place (from workshops to streets to bridges to classrooms to marketplaces to churches, etc.)? Was the physical arrangement of these places conducive to interaction (e.g. openness to street; benches outside)? How open or closed were spaces to different kinds of people? What sort of information did city dwellers and travelers seek and why; what knowledge and information did they bring to these encounters and what did they receive? Were ideas shared openly and how was information demonstrated? How did visitors participate (did they simply watch or did they take part)? We hope to uncover cases of unexpected encounters (in terms of participants and information) by using creatively the surviving evidence (e.g. graffiti, architecture, marginalia, sketches, books of secrets, ricordanze, archival records, etc.). In addition we aim to illuminate the ways in which the activities and vocabulary of different spaces permeated multiple disciplines and discourses (e.g. politics, poetry, philosophy, etc.), often generating new ideas. Speakers: Niall Atkinson (Chicago), Christina Neilson (Oberlin College), Nick Terpstra (Toronto), Yvonne Elet (Vassar College), Nicoletta Marcelli (Macerata), Cecilia Hewlett (Monash), Roisin Cossar (Manitoba), Tom Cohen (York), Elizabeth Cohen (York), Dario Tessicini (Durham), Filippo De Vivo (Birkbeck). Click here for full program
. Advanced registration for the conference is necessary. Please register online
by September 1, including your name and institutional affiliation. Due to budgetary restrictions, lunches are open to presenters and discussants only. This conference is generously funded by The Lila Wallace – Reader’s Digest Special Project Grant from Villa I Tatti: The Harvard University Center for Italian Renaissance Studies and a Connection Grant from the Canadian Government’s Social Sciences and Humanities Research Council. Thanks also to the University of Manitoba’s Institute for the Humanities and Department of History.
GIORNATE DI STUDIO SU PAOLO VERONESE
25 – 27 September 2014. Read abstract
On the occasion of the exhibition Paolo Veronese. L’illusione della realtà
(Verona, Palazzo della Gran Guardia, 5th July – 5th October 2014), curated by Paola Marini and Bernard
Aikema, an international conference will take place to discuss the new points of view on Paolo Veronese as emerged during the two monographic exhibitions in London and Verona. A poster session will run simultaneously to the conference.
COLLECTING AND NEW DIRECTIONS IN MUSEOLOGY
10-12 October 2014, MEWO Kunsthalle, Memmingen. Read abstract
Research in the history of collecting has often focused on the development and the uses of historical collections of art and artifacts, their composition and the choreography of display. Over the past decade, the international forum Collecting & Display has been investigating diverse aspects of Collecting History: female collectors, dynastic ambition, the role of nature, or the location of display rooms within the context of princely residences. To celebrate the first decade of our existence as well as the launch of a dedicated series of publications – “Collecting Histories” under the editorship of founding member Andrea Gáldy, PhD, FHistS – we will host a conference dedicated to new directions in the areas of collecting, display, visitor experience and the use of modern media in today’s museums that might or might not dispel with the need to engage with actual objects, and whether and how the engagement with the history of collections has influenced and modified contemporary museology. With this event we intend to look forward towards a future, which oftentimes looks bleak due to funding cuts but also offers exciting prospects as far as the diverse possibilities of display are concerned; not to forget the rising visitor numbers at many of the great museums worldwide. What is the mission of collections and museums? And, how does one balance the history of collections and the collections themselves against the need for outreach activities, the call for edutainment and popular access in conjunction with a sustainable use of collectibles? Is there a way in which the past of a collection may point the way towards the best practice in use and presentation of the exhibits? Questions may be directed to Dr. Andrea Gáldy and Dr. Axel Lapp
. Memmingen is easy to reach by train via Munich or Stuttgart/Ulm as well as by plane to the Allgaeu Airport.
FACE, FACES, THE PHENOMENOLOGY OF FACE
19-22 October 2014, Athens, GA. Read abstract
The Nomadikon Center for the Visual Arts, Bergen, NO and The Center for the Ethics of Seeing, Albany, NY hosts interdisciplinary conference. In his Theory of the Film
(1952), Bela Balázs wrote that “[f]acial expression is the most subjective manifestation of man, more subjective than speech.” In the close-up, the Hungarian film theorist and writer saw an image unbound by time and space, thus identifying the point at which the film image could become a concept, a supremely expressive unit of signification closer than other types of images to thought. In contemporary visual culture, the visibility of the face is a given, and some would perhaps claim that its presence has become almost ubiquitous. Consider for instance that in 2013 Oxford Dictionaries named selfie the word of the year. Yet despite its cultural pervasiveness, the face remains a curiously overlooked subject of research in the humanities and social sciences. For this conference, we invite papers from any discipline that engage with faciality and the face as a phenomenological, social, cultural, aesthetic, visual, literary, philosophical, semiotic, historical, and textual object. Particularly welcome are discussions that explore the concept and materiality of the face in the arts, with their rich traditions for representing faciality – photography, cinema studies, art history, literature, dance, theatre and performance, and social media and the digital arts. As an aesthetic category spanning a range of different media, the face often seems potentially self-referential. When drawing attention to itself, the face may become a source of opacity which inhibits the hermeneutic flow, something which strips away all context until the only thing we are left with is its sheer material presence. The filmic face is also enigmatic. The film theorist Richard Rushton (2002) has observed that we tend to suppose that the face is hiding something, that it represents “a surface haunted by intimations of concealment, interiority and exteriority.” Taking the impenetrability of the face as its point of departure, then, this conference encourages submissions on a variety of topics relating to the face and faciality, including but in no way limited to the following: the close-up and its long history in the moving arts (i.e. Dreyer, Bergman, Warhol, Cassavetes, Leone, Godard, Pasolini, Tarkovsky, Egoyan, Assayas and Kiarostami, to name just a few); the face as a mask (the poker face or blackface, but also in Heidegger’s conception of the image—the Latin imago—as a death mask); the face as a site of ethical encounter in the philosophy of Levinas (face-to-face); Deleuze’s notion of the affection-image, or his study of the dismantling of face in the portrait paintings of Francis Bacon; the cinematic reaction shot; the culture of Facebook and the “selfie;” the portrait genre throughout art history; the face as pure surface or exteriority (the face of the earth); the face in relation to ethnicity/race/gender; the digital interface; the various permutations of the look/the gaze/the glance; the face and sexuality; the face of/face and disability; iconicity and the face; the face and ethics; the veiled face; the face and iconophobia – etc. The conference will be held at the Foundry Inn in downtown Athens. This conference is a continued partnership between the Nomadikon Center for Visual Culture, Bergen, Norway and The Center for the Ethics of Seeing, Albany, New York. The previous conference in this partnership was “The Ecologies of Seeing,” hosted in the fall of 2012 at The College of Saint Rose, Albany, New York. Registration for the conference is $130.00. For further information, contact organizers Mark Ledbetter, Susan Cumings, and Theresa Flanigan
CARLO FONTANA (1638–1714), A CELEBRATED ARCHITECT
22–23 October 2014, Rome, Italy. Read abstract
This International Conference is organized by Accademia Nazionale di San Luca in collaboration with Università degli Studi di Roma 2 “Tor Vergata.” The conference, to be held at Palazzo Carpegna, Accademia Nazionale di San Luca, is dedicated to the architect Carlo Fontana (Rancate 1638 – Roma 1714) on the occasion of the 300th anniversary of his death. The protagonist of Roman architecture as the Baroque was waning, Fontana, descending from a famous dynasty of Ticinese architects, organized the teaching and practice of architecture based on the exercise of drawing and geometry. His workshop thus prefigured modern design studios. The propagandistic usage of engravings and printed volumes illustrating and diffusing Fontana’s works and ideas constituted yet another factor of his modernity. In fact, Fontana understood perfectly the dimension of intellectual and creative freedom of the print, liberating himself from the dependence on patrons and from morphological and typological conventions of his time. The projects of Carlo Fontana range from artifacts of domestic use, interiors, civil, religious and military architecture to the most challenging urban and territorial infrastructures (ports, aqueducts, grain warehouses, etc.). These design and entrepreneurial features are comparable then to the great architectural studios of the 19th and 20th centuries, confirming Fontana’s actuality. Such an innovative workshop organization attracted students from all over Europe: Johann Bernhard Fischer von Erlach, Nicodemus Tessin, Lucas von Hildebrandt, Filippo Juvarra, Francesco Specchi, and James Gibbs, to name a few. In Fontana’s studio students could learn innovative typologies, modern and experimental techniques, at the same time measuring themselves up to the great Roman construction tradition, both ancient and modern. Their direct contact with monuments was favored by the works Fontana executed on antique buildings to make them fit for new usages and new representations. Papers will encompass and explore, but by no means be limited to, the above mentioned aspects, always bearing in mind the cosmopolitan and European horizon that characterizes the production, teaching, and thought of architect Carlo Fontana. Questions may be sent by e-mail message
ANDREW LADIS ITALIAN TRECENTO CONFERENCE
23-25 October 2014, Georgia Museum of Art and the Lamar Dodd School of Art, University of Georgia, Athens, GA. Read abstract
This symposium in memory of scholar Andrew Ladis celebrates both his love of trecento painting and his commitment to its display, study, and preservation in a museum context. Funded by the Samuel H. Kress Foundation. The conference will open Thursday evening with a keynote address by Carl Strehlke of the Philadelphia Museum of Art and feature speakers from various disciplines and countries, focusing on the interpretation and technical development of gold-ground painting in Renaissance Italy the following day. The museum will host a trip to Bob Jones University Museum & Gallery, in Greenville, South Carolina, on Saturday, October 25, 10$ per person. The conference itself is free and open to the public. To reserve a hotel room at the Athens Holiday Inn or Holiday Inn Express, call 800-315-2621 and mention the “Georgia Museum of Art Trecento Conference.” RSVP by email
for the conference and/or trip to Greenville.
Thursday, October 23, 2014, 5:30 p.m.
2014 Alfred Heber Holbrook Memorial Lecture, Carl Brandon Strehlke, adjunct curator, John G. Johnson Collection, Philadelphia Museum of Art, “Curating the Renaissance”
Friday, October 24, 2014, 9:00 a.m. to 5:30 p.m.
Introductions by William U. Eiland, director, Georgia Museum of Art, and Shelley Zuraw, Lamar Dodd School of Art
Rika Burnham, head of education, The Frick Collection, “Close Study: Madonna and Child by Marco Basaiti”
Perri Lee Roberts, professor of art history, University of Miami, “Strategies for Learning About Gold Ground Painting”
Gianfranco Pocobene, John L. and Susan K. Gardner Chief Conservator, Isabella Stewart Gardner Museum, “Giuliano da Rimini’s Virgin and Child Enthroned with Saints: Technical Discoveries and the Inscription Question”
Dianne Modestini, conservator, Kress Program in Paintings Conservation, Institute of Fine Arts Conservation Center, New York University, “Problems in the Cleaning and Restoration of Early Italian Paintings”
Wolfgang Loseries, researcher and project coordinator, Kunsthistoriches Institut in Florenz, “Relics, Processions and Miracles: Benedetto di Bindo’s Paintings for the Chapel of Relics in Siena Cathedral”
Gail E. Solberg, instructor in art history, Associated Colleges of the Midwest, Florence Program, “The Altarpiece Trade in the Late Trecento: Taddeo di Bartolo and Spinello Aretino”
George Bent, Sidney Gause Childress Professor in the Arts, Washington and Lee University, “Adventures in Advertising in the Florentine Wool Guild”
Nathaniel Silver, art historian, “Making a Splash: Sant’Antonio di Castello and the Antonines in Trecento Venice”
Saturday, October 25, 2014, 8 a.m.-4:30 p.m.
Trip to Bob Jones University Museum & Gallery, Greenville, S.C. View the collection of Old Master paintings; lunch on the grounds with discussion facilitated by Shelley Zuraw
BRAMANTE AND LOMBARD QUATTROCENTO ARCHITECTURE
October 2014, Milan. Read abstract
Promoted by Politecnico di Milano, Dipartimento di Architettura e Studi Urbani / Università Cattolica del Sacro Cuore di Milano, Dipartimento di Storia, Archeologia e Storia dell’Arte. On the occasion of the Fifth Centenary of the death of Donato Bramante (1514- 2014), the Politecnico di Milano and the Università Cattolica del Sacro Cuore propose to dedicate a day of study to new information and interpretations concerning the many unsolved problem of Bramante’s architecture. The Study-Day, to be held nearly thirty years after the conference promoted by the Università Cattolica in 1986 and in collaboration with others intending to celebrate the Centenary, aims at offering the opportunity for a dialogue between scholars, particularly younger ones, by presenting research in progress as well as prospects for future investigations. The aim of the Conference is two-fold: the 500th centenary of Bramante’s death presents an opportunity to invite scholars to present new work that will update the catalogue of Bramante’s work in Milan and Lombardy, as well as promoting at an international level an exchange of ideas and different approaches intended to calibrate the importance, or lack of it, of the presence of Bramante in Milan. Questions may be directed to the organizers by email
. The Acts of the Study-Day will be published in a monographic issue of the journal Arte lombards
AUGUSTUS THROUGH THE AGES
6-7 November, Brussels. Read abstract
Augustus through the Ages: receptions, readings and appropriations of the historical figure of the first Roman emperor. Augusti Manes volitant per auras
. In 2014, many academic institutions and museums will celebrate the bi-millennial of the death of Augustus with colloquiums, exhibitions, and publications. The life, the political ingenuity, and the era of the founder of the Roman Empire have not been honored or discussed in this manner since 1937-1938, when an exhibition, the Mostra augustea della Romanità, at the instigation of the Fascist regime, celebrated the two-thousandth anniversary of the birth of the Emperor. Yet the outcome of the re-examinations in 2014 will not be complete if emphasis is not put on the enduring fame and fortune he experienced in the West, for this renowned figure created an empire which united, for the first time, the Mediterranean with the regions north of the Alps. The importance of this personage throughout our recorded cultural history makes a multidisciplinary approach essential. It is therefore, as diverse field and period specialists, that we wish to invite our Belgian and foreign university colleagues to bring together their skills and knowledge – in the distinct fields of history, cultural history, literature, art history, semiotics, etc. – to retrace the multiple interpretations and appropriations of Augustus from his death to the present days. This colloquium will bring together historians, philologists, archaeologists, and art historians of different periods to present papers on various topics in accordance with the following guidelines: Receptions of Augustan politics and ideology and their appropriations; Religious appropriations; Representations of Augustus in mixed media (e.g. comics, television series); Augustus in literature and the arts, or in movies and on the Web; Memory of Augustus as the “urban designer” who transformed Rome into a city of marble. Questions may be directed by e-mail to Marco Cavalieri
. Organizing Committee: Pierre Assenmaker (F.R.S.-FNRS/UCLouvain) Mattia Cavagna (UCLouvain) Marco Cavalieri (UCLouvain/Università degli Studi di Firenze, SSBA) David Engels (ULB, Bruxelles) Costantino Maeder (UCLouvain).
BRAMANTINO AND FRENCH RULE IN RENAISSANCE LOMBARDY (1499-1522)
6-7 November 2014, Lugano. Read abstract
From 28 September 2014 to 11 January 2015 the Museo Cantonale d’Arte in Lugano
will host a major exhibition consecrated to Bartolomeo Suardi, known as Bramantino. The exhibition traces the artist’s entire cultural and expressive itinerary, from the onset of his career to his very last works. Works of Bramantino will be shown alongside paintings, drawings, illuminated manuscripts, sculptures and goldsmith’s art which represent, in a tightly-knit web of exchanges and interferences, the most important Lombard figurative tendencies within the frame of the Italian Wars and the French rule of Lombardy (1499-1525). Since the exhibition will constitute an important opportunity to re-examine the works of Bramantino and of his contemporaries, the Museo Cantonale d’Arte promotes a two-day symposium to present and discuss the most recent studies of the researchers active in this field. The symposium will take place in Lugano from the 6th to the 7th of November 2014. The symposium aims at bringing together art historical presentations as well as technical and scientific investigations reports on specific works. The proceedings of the symposium will then be published in a volume of the series Biblioteca d’Arte Skira.
LOCAL ANTIQUITIES, LOCAL IDENTITIES: ART, LITERATURE AND ANTIQUARIANISM IN EUROPE BETWEEN THE 14TH AND 17TH CENTURIES
13-14 November 2014, The Warburg Institute, London. Read abstract
Early modern Europe found new fascination in the classical past, but how that past was conceived varied widely. This conference will explore diverse notions of antiquity across Europe in the early modern era, challenging assumptions about a Greco-Roman past and a ‘Renaissance’ that were both universal and monolithic. It is already well known that multiple ‘antiquities’ informed the artistic and literary culture of Rome, Florence and Venice and much recent work has been done on the reception of antiquity in France, Germany and the Netherlands. Our conference will consider how this research has fundamentally changed the perception of European antiquarianism and further explore the reception of the classical past on the local and regional level. European communities considered local antiquities as living testaments to their antique origins, whether real or fictive. They looked not only to Greco-Roman antiquity, but also to the culture of pre-Roman, indigenous populations. Cities and regions shaped their notions of the ‘antique’ not only from a classical heritage but also that of more recent past, as when medieval objects or texts were believed to be ancient or purposely re-fashioned as such. Real or fictive ruins, inscriptions, or literary works could be used to demonstrate a particular idea of the ancient past or as a statement of civic pride. Described in poetry or other texts, antiquities were central to the literary traditions of local communities; works of art and architecture either redeployed spolia
of recognizable local provenance or were characterized by a regional concept of the antique. Adopting an interdisciplinary and comparative method, the conference aims to investigate such issues. We seek abstracts for papers that explore local concepts of the antique in the form of archaeological excavations, works of art, architecture, or texts. How were local antiquities used to construct a sense of identity for civic bodies or individuals? How did imported modes of classical revival merge or clash with local idioms? How did local communities respond to or attempt to rival Rome and other heirs to antique traditions? Papers might address issues of competing ‘antiquities’, the character and priorities of local concepts of the antique, or relationships between concepts of antiquity in various regions. They might also consider wider aspects of the local reception of antiquity, such as patterns in myths of origins that recur in different areas of Europe. We would welcome any topic dealing with the impact of local concepts of antiquity in early modern literature, antiquarianism or the visual arts. This 2-day conference organized by Kathleen Christian (The Open University, Department of History of Art) and Bianca de Divitiis (ERC/HistAntArtSI project, University of Naples Federico II) will be held at the Warburg Institute in London on Thursday November 13–Friday November 14, 2014. Questions should be directed to Kathleen Christian and Bianca de Divitiis
THE POWER OF AFFECTIONS: POETRY, MUSIC, AND SPECTACLE IN SEVENTEENTH-CENTURY ITALIAN OPERA LIBRETTOS
13-14 November 2014, Philadelphia, University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts. Read abstract
An international conference organized by the Center for Italian Studies and the Music Department of the University of Pennsylvania in collaboration with the Institute for Music of the Fondazione Giorgio Cini in Venice, Italy. For more on the theme of the conference, please see the conference website
. Questions may be directed to Mauro Calcagno
. Organizing Committee: Fabio Finotti, Mauro Calcagno, Carlo Lanfossi, Marina Della Putta Johnston. Registration Fee: professionals $100; students $70; Closing Dinner: $50.
DIOCLETIAN’S PALACE IN THE WORKS OF ADAM, CLÉRISSEAU, AND CASSAS
27-29 November 2014, Institute of Art History – Center Cvito Fiskovic in Split, Croatia. Read abstract
The Grand Tour, as an educational rite of passage, reached its peak in the 18th century, widening its traveling radius outside of Rome and Italy onto further parts of the Roman Empire, among which Dalmatia held a prominent position. The international interdisciplinary conference on architecture, urban planning, and architectural decoration aims to explore the role of Diocletian’s Palace in the work of Robert Adam, Charles-Louis Clérisseau, and Louis-François Cassas, as well as the influence of Diocletian’s palace on the development of European neoclassicism.
UNTYING “THE KNOT”: THE STATE OF POSTWAR ITALIAN ART HISTORY TODAY
9-10 February 2015, The Center for Modern Italian Art, New York, conference and study day organized by Sharon Hecker and Marin R. Sullivan. Sponsored by CIMA and the Italian Art Society. Read abstract
2015 marks the thirty-year anniversary of curator Germano Celant’s The Knot
, the 1985 landmark exhibition held at PS1 in New York, which introduced contemporary Italian art to American audiences. Yet despite the interest it generated in its time, only recently have scholars in the United States begun to consider postwar Italian art as a subject for study. Today, thanks to shows like the Tate Modern/Walker Art Center’s Zero to Infinity: Arte Povera 1962-1972
, scholars on both sides of the Atlantic are increasingly turning their attention to study Italian art created after World War II. Italian archives are becoming more accessible, more primary texts have been translated into English, and a growing number of museum and gallery exhibitions, conferences and English publications in both the U.S. and the U.K. are beginning to fill the lacuna. With the passage of half a century, European and American scholars alike are using these venues to historicize and scrutinize the complex dichotomies that defined Italy during the period: from its dialogue with artistic and craft traditions of the past within the context of rapid industrialization, to the so-called “economic miracle” and the effects of American consumerism, to the mechanics of Italy’s desire to establish a particular kind of Italian Modernism that would also become internationally influential. The Italian national context that once appeared to Anglo-American scholars as provincial, homogenous, or retrograde is now considered a crucial art historical moment bursting with distinct artists, radical groups and tendencies, including Informale, Gruppo N, and Arte Povera, as well as artworks shaped by concurrent historical developments in science, industry, politics, literature, photography, architecture, design and film. A scholarly outlook on art created in Italy during the postwar period has now fully emerged in the U.K. and U.S., but its parameters and impact have yet to be assessed. This study day seeks to evaluate the current state of the field and to highlight alternative methodologies for future inquiry. Scheduled for February 10, 2015, the day prior to the opening of the College Art Association’s 103rd Annual Conference in New York, it will complement the IAS-sponsored session, “Di politica: Intersections of Italian Art and Politics since World War II,” chaired by Dr. Christopher Bennett and Dr. Elizabeth Mangini. Through brief paper presentations, ample discussion, and a respondent roundtable, the goal of the study day is to address and explore the most pressing issues, concerns, and questions driving postwar Italian art history on both sides of the Atlantic today. Are those concerns the same for Italian and non-Italian scholars of different generations? How do we take into account regional differences and, at the same time, questions of a unified national Italian identity? How did novel materials and the emergence of industrial design impact the visual arts in Italy and vice versa? What was new about art made in Italy during this time and what continued or was rephrased, reshaped and recycled (either critically or uncritically) from the immediate, Fascist or more distant past (for example, Futurism, or even further back, from the nineteenth century, the Renaissance, the Baroque, Medieval or Ancient periods)? While the primary focus of the conference is Italy and Italian artists between 1945 and 1975, we also welcome case studies—with an eye to methodology—that examine cross-cultural exchange, including the reception of Italian art internationally or the presence of foreign artists in Italy; the impact of international exhibitions such as the Venice Biennale; or the influence of the postwar generation on art being produced around the world today. Click here to see the program of speakers.
Past Conferences on Italian Topics
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