Chair Christian Kleinbub (2019) leads the Awards Committee that awards travel and research grants to Italian Art Society (IAS) members engaged in the study of Italian art and architecture from prehistory to the present. The current Committee Members are Sally Cornelison (2017), Jessica Maier (2019), and Judith Steinhoff (2017). Members who have received an IAS award in the past two years are not eligible to apply. IAS officers and committee members are not eligible to apply.
IAS TRAVEL GRANT FOR EMERGING SCHOLARS
The Italian Art Society is pleased to announce the IAS Conference Travel Grant for Emerging Scholars. Two grants of $500.00 will be available each year to subsidize travel for emerging scholars to present a paper at any conference where the IAS is sponsoring a session on Italian art or architecture from prehistory to the present. The competition is open to Master’s or Ph.D. students or Ph.D. holders within six years of the degree (pre-tenture, non-tenure track, or independent scholars). Applicants for IAS grants must be IAS members at the time of application and upon receipt and use of the award. Members who have received an IAS award in the past two years are not eligible to apply. IAS officers and committee members are not eligible to apply. The competition for spring 2017 is now closed.
IAS CONFERENCE TRAVEL GRANT FOR MODERN TOPICS
The IAS is pleased to announce our second year of competition for the IAS Conference Grant for Modern Topics. A minimum of $500 will be provided to subsidize transoceanic travel to present in an IAS-sponsored session on the art or architecture of Italy from the early nineteenth century to the present, at any conference in 2017. This grant has been established to fill the gap caused by the IAS/Kress International Travel Grant’s restriction to fund topics up to the early nineteenth century only.
To be eligible, applicants must be U.S. or foreign scholars already holding the Ph.D. (or equivalent terminal degree) and must be undertaking transoceanic travel to present at the conference. Applicants for IAS grants must be IAS members at the time of application and upon receipt and use of the award. Members who have received an IAS award in the past two years are not eligible to apply. IAS officers and committee members are not eligible to apply. Please send proposals to Awards Committee Chair Kimberly Dennis at email@example.com. For complete instructions click here. The deadline for 2017 conferences has passed.
The first recipient of the IAS International Conference Grant for Modern Topics in the amount of $1000.00 was Angelika Schnell (Professor, Akademie der Bildenedn Künste, Vienna) who presented a paper titled “Paolo Portoghesi’s and Aldo Rossi’s Visual Historiographies of Italian Architecture” at the Annual meeting of the American Association for Italian Studies (AAIS) in Baton Rouge, LA in April 2016. The paper was part of an IAS-sponsored session “Anachronism and Historicism in Italian Modern and Contemporary Art,” organized by Lucien Auz (Memphis College of Art) and Adrian R. Duran (University of Nebraska at Omaha).
2016 IAS Travel Grant Winners
Tenley Bick (doctoral candidate, UCLA), presented her paper “Anachronic Casts: Giulio Paolini’s Plaster Sculptures in the Years of Lead, 1968-1982,” at the annual meeting of the American Association for Italian Studies (AAIS) in Baton Rouge, LA, in April of this year. The paper, awarded an IAS Travel Grant for Emerging Scholars, was in one of two Italian Art Society sponsored panels organized by Lucienne Auz (Memphis College of Art) and Adrian R. Duran (University of Nebraska at Omaha and chair of the IAS Membership, Outreach, and Development Committee) under the rubric “Anachronism and Historicism in Italian Modern and Contemporary Art.”
Angelica Federici (Cambridge University), “Female Religious Patronage in Late Medieval Rome ca. 1200-1400,” presented in the IAS-sponsored session “New Perspectives on Medieval Rome,” chaired by Alison Perchuk and Marius Haukness, at the International Congress on Medieval Studies, Kalamazoo MI, 11-15 May 2016. Read abstract
Yet, evidence of female religious patronage in Rome during the Late Medieval period is conspicuous. Their neglect is possibly a consequence of the perceived dominance of both the papacy and the noble families in the scenario of Roman patronage. Indeed, for art historical historiography, the Rome of the Avignonese Captivity, corresponds to a sort of black hole that extends far beyond the reacquisition of the papal seat, and that negates all types of artistic production, and as a consequence, every possibility of cognitive research. However, the existence of an uninterrupted artistic production not only in Rome, but in the Provincia romana in general blatantly contradict this desolate scenario. By adopting an interdisciplinary approach to the study of female patrons, the paper I wish to deliver will contribute to the reassessment of artistic patronage in Rome in two crucial centuries of its history.
Due to the scarcity of medieval material, studies on female patronage have a tendency to focus on limited amounts of evidence. Thus they provide only partial and fragmentary accounts. On the contrary, the Roman area has an abundance and variety of sources, both artistic (epigraphic, sculptural, architectural and sepulchral) and documentary. This paper largely based on the research which is currently being conducted for my PhD (Female Religious Patronage in Rome, ca. 1200-1400; Supervisor: Dr. Donal Cooper, University of Cambridge, UK) will present a general survey of artistic commissions from Roman nunneries during the Late Medieval period, with particular focus on three convents; Sant’Agnese fuori le mura (Benedictine), SS. Cosma e Damiano in Mica Aurea (Clarissan) and San Sisto Vecchio (Dominican).
This paper will explore the various facets of these extensive programmes of artistic renewal, which were likely promoted by three abbesses Lucia (Sant’Agnese), Jacoba Cenci (SS. Cosma e Damiano in Mica Aurea) and Angelica Boccamazza (San Sisto Vecchio). Additionally, the material from Sant’Agnese includes a set of unpublished frescos from the convent portraying a Crucifixion and an Enthroned Christ of noticeable quality. These frescos share a strong stylistic resemblance to the ones present in the choir at San Sisto Vecchio dated 1295-1314 possibly of scuola cavalliniana.
The surviving evidence present in these nunneries provides us with a tantalizing glimpse of patronage in Rome by nuns on a large scale. These far-reaching enterprises can give some idea of the extent and quality of the mural decoration within conventual/clausura spaces. Indeed, by ensuring that their own conventual spaces were decorated by leading painters in the latest style these high quality decorative programs confirm the nuns’ role as catalysts for a significant operation of artistic renewal in the city of Rome.
Kristin deGhetaldi (University of Delaware), “Tracing the Evolution of Oil Painting in Renaissance Italy: Previous Assumptions and New Approaches,”presented in the IAS-RSA joint session, “Artistic Exchange between Italy and the Netherlands, 1300–1700,” chaired by Sheryl Reiss, at the 62nd Annual Meeting of the Renaissance Society of America, Boston, 31 March-2 April 2016. Read abstract