Étiqueté : réception

Appel à contribution : « God is in the Details. The Art of Detail in the Middle Ages », The Courtauld Institute of Art, date limite le 13 février 2022

27th Annual Medieval Postgraduate Colloquium The Courtauld Institute of Art For Aby Warburg, God was in the details; for others they were the devil. From manuscript miniatures to carved altarpieces or richly decorated muqarnas , detail was highly valued in the Middle Ages. In different circumstances the deployment of detail displays, disguises  and depends upon the materiality of objects, embedded in the woven structure of textiles,  the techniques of Islamic metal inlay, and the varied...

Appel à candidature : « L’Antiquité et ses réceptions », École d’été, Rome-Tivoli, date limite le 31 janvier 2022

École d’été, 1ère édition, Rome-Tivoli (du 26 juin au 2 juillet 2022) L’École d’été de formation et de recherche « L’Antiquité et ses réceptions » est organisée par l’École Française de Rome et University of Notre Dame Rome Global Gateway, en partenariat avec les universités d’Avignon, Columbia, Montréal, Sorbonne Université, Rouen-Normandie et Sapienza Roma. Elle est ouverte aux jeunes chercheurs et chercheuses inscrit.e.s en deuxième année de Master ou en doctorat, spécialistes d’histoire, d’histoire de...

Colloque : “Penser l’image en situation. Exposer la peinture médiévale à la lumière du jour”, Paris, 21-23 octobre 2021

Ce colloque part de l’hypothèse suivante : l’œuvre picturale façonne voire construit tant le lieu dans lequel elle est présentée que l’observateur à qui elle s’adresse. Là où cette rencontre est entravée, l’expérience et la compréhension de l’œuvre risquent d’être profondément perturbées. La manifestation et le sens d’une œuvre ne sauraient être indépendants de ses conditions de présentation. La question est particulièrement délicate pour la présentation des œuvres d’art médiévales, que nous avons tendance aujourd’hui à...

Appel à contribution : « Nero and Hadrian. The arts in power », Tivoli, Villa d’Este, 24-25 février 2022, date limite le 30 septembre 2021

Nero and Hadrian: two emperors united by a passion for the arts; both reformers in the artistic and also, in particular, in the architectural and administrative spheres. Two characters, the first much discussed, the second much less. Recent critics have portrayed them in an innovative and pioneering light, at least from a purely cultural point of view. Argument Nero and Hadrian: two emperors united by a passion for the arts; both reformers in the artistic...

Appel à communication : « Framing the multimodality of early modern images : agency, performance and medialogy to study artefacts », RSA, Dublin 2022, date limite le 27 juillet 2021

Understanding paintings and sculptures as a « dispositif » (De Certeau, Agamben) has become a new research approach in the Humanities in recent years. Visual anthropology  and cognition are nowadays commonly used to explore how early modern images work within a process of production, mediation and reception (Freedberg & Gallese ; Belting). However, Visual semiology, Information and Communication Sciences are yet to be invested in a fruitful medialogy that could provide a bridge between disciplines. Studying interpersonal and...

Table ronde : « Illusion, Scale, Ritual: Revisiting Reception », session de la RSA, en ligne, le 15 avril

Illusion, Scale, Ritual: Revisiting Reception – RSA Virtual 2021 Organizers : Elisabeth Doulkaridou Valentina Hristova Abstract : When it comes to contextualizing works of Renaissance art, an open and creative approach to reception is essential, especially when the object of study is not an easel painting. John Shearman’s Only Connect spurred numerous studies that have suggested complementary methods of understanding through social history and anthropology. The performative aspect of images has also been an object of study in...

Conférence : Raphael in Reproductions, Loveno di Menaggio, Villa Vigoni, 16-18 Novembre 2020

Raphael in Reproductions – Global Perspectives The conference «Raphael in Reproductions» is intended to explore the reception of Raphaels œuvre in a global context. It tries to shed new light on the impact that «modern» reproductions had on the role Raphael played not only in national art histories but also in the emerging popular culture of the late 19th and 20th centuries. The main goal of the symposium is to confront case studies from different...

Conférence en ligne : Eugenio Refini, Ariadne’s Threads: Reception as Cultural Memory and the “Remaking” of the Renaissance, Londres, The Warburg Institute, le 30 juin à 17h30

Eugenio Refini (Frances A. Yates Short-term Fellow): ‘Ariadne’s Threads: Reception as Cultural Memory and the “Remaking” of the Renaissance’  Tea Time Talks provide a forum for Warburg research fellows and academic staff to meet each other, introduce their research, and discuss some of the problems and questions that their work addresses. Please reserve a place by 5.00pm on Monday 29 June and we will send a link to join the online meeting. Source

Appel à communication : « Lorenzo Lotto : contexte, signification, réception », Loreto, date limite le 15 décembre 2018

Appel à communication : « Lorenzo Lotto: contexte, signification, réception » (Loreto, 2-3 février 2019) Lorenzo Lotto: context, meaning, reception :  curated by Francesca Coltrinari (University of Macerata) and Enrico Maria Dal Pozzolo (University of Verona) Although not an anniversary year for Lotto, 2018 has fallen within a period of renewed scientific interest and appreciation for Lorenzo Lotto (1480-1556 ca) thanks to the exhibition of his portraits in Madrid (« Lorenzo Lotto. Retratos », Prado Museum, 19 June –...

Appel à publication : « Intersections – Re-inventing Ovid’s Metamorphoses, 1300-1700 », date limite le 15 février 2018

The importance of Ovid’s Metamorphoses as a source for the visual arts and literature of the early modern period has long been recognized. There is an ongoing discussion, however, on the role of Ovid’s text in the process of reception, because individual representations, especially in the visual arts, often show ‘deviations’ from Ovid’s narrative. How can these ‘deviations’ be explained? Bodo Guthmüller has stressed that many artists (and writers) did not use the original Latin...

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