Appel à contribution : Aerial Perspective in Early Modern Europe, RSA, Dublin, du 30 mars au 2 avril 2022, date limite le 20 juillet 2021

The term aerial perspective is widely used but rarely studied outside the work of a few artists, such as Jan van Eyck, Leonardo da Vinci, and Poussin. Though most often associated with the representation of great distances, aerial perspective can also be said to involve strategies for differentiating shorter distances such as foreground and middle ground. Such strategies might include techniques such as schiacciato relief, engraving and etching, the study of optical treatises to better understand the principles of nature, or the use of optical instruments to train the eye. Color, thickness, finish, and shading contributed to the illusion of distance to supplement or replace linear perspective.

This session seeks to expand the dialogue by considering varied approaches to aerial perspective in Europe and beyond the continent between 1400 and 1650. We invite scholars to submit proposals that deal with the following issues:
– Writings on aerial perspective (theory, criticism, letters)
– Techniques and strategies of aerial perspective in individual works of art in any genre
– Challenges specific to relief sculpture, prints, drawings, and other monochromatic media
– Painting techniques used to render distances and atmosphere, including conservation-oriented studies of strata, pigments, media and other material aspects

The format of the session will be determined after evaluating the proposals. One goal of this session proposal is to explore an invitation to prepare an anthology on the subject.

Submit questions and preliminary ideas for papers by July 20 to Janis Bell (
Submit final proposals with CV and abstract, following RSA guidelines ( to Megan Reddicks Pignataro ( no later than August 1, 2021.


Fiammetta Campagnoli

Fiammetta Campagnoli est doctorante en histoire de l'art moderne à l'Université Paris 1 Panthéon-Sorbonne. Ses recherches se concentrent sur la perception et sur la réception de la spatialité de l’image mariale au XVe et au XVIe siècle.

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