L'Agenda des Médiévistes

’s‑Hertogenbosch, 21-23 April 2022

Jheronimus Bosch remains an exceptionally popular painter and draughtsman. His death in 1516 was commemorated five years ago with major exhibitions in ‘s-Hertogenbosch and in Madrid, which together drew well over one million visitors, an astonishing success. The scholarly interest in the master from ‘s-Hertogenbosch typically focuses on the often-peculiar iconography of some of his works, which historians of art have tried to decipher since the late ninenteenth century. Ever since, the literature on Bosch has grown exponentially. For the scholarly discourse of these paintings and drawings, whether focused on iconography, Bosch’s patrons, or his socioeconomic position in his hometown of ‘s-Hertogenbosch, the precise definition of the boundaries of the oeuvre remains a critically important foundation.

The total number of works attributed to Bosch has changed significantly through time. As was the case for many other artists, in early scholarship this group of works was deemed considerably larger than it is now. The often translated and reprinted monographs on Bosch by Charles de Tolnay (1937), Ludwig von Baldass (1943), and Jacques Combe (1946) accepted many more works as “autograph Bosch” than we do today. The monograph by Roger Marijnissen (1987) was an important turning point in this regard, in that it generally took a more critical stand and called for systematic technical research to provide clearer boundaries between the works by Bosch, by his workshop, and by followers. In 2012, Fritz Koreny only accepted 10 paintings and 11 drawings as autograph. The Bosch Research and Conservation Project (BRCP), in 2016, published the findings from its six-year study in a two-volume monograph. The BRCP considers 21 paintings and 20 drawings to be by Bosch. But the discussions about attributions have not ceased since, and the boundaries between the works by Bosch and by his workshop, or between works by the workshop and by his followers, are sometimes hard to draw. For this meeting, we invite proposals for 25-minute presentations on works that can be positioned on, or around, these boundaries. Please send your presentation proposal and xv by email to Ron Spronk (spronkr@queensu.ca). The (hard) deadline for submissions is 1 December 1 2021.

The conference Defining boundaries: Jheronimus Bosch, his workshop, and his followers is supported by the Jheronimus Bosch Art Center (JBAC), the City of ’s‑Hertogenbosch, Het huis van Bosch, and Radboud University Nijmegen. Conference Committee consists of Prof. Dr. Ron Spronk (chair), Prof. Dr. Jos Koldeweij, and Dr. Eric De Bruyn. Defining boundaries: Jheronimus Bosch, his workshop, and his followers will be the fifth international conference organized at the JBAC, after Jheronimus Bosch Revealed: The Painter and His World (2001); Jheronimus Bosch: His Sources (2007); Jheronimus Bosch: His Patrons and His Public (2012) and Jheronimus Bosch: His Life and His Work (2016). The JBAC is a study- and documentation center for the works and the world of Bosch for both specialists and a more general public. At the JBAC, a large, specialized library can be consulted, and reproductions of the entire oeuvre are on display in 1:1 scale.

Source : Codart

University of Helsinki
1 – 3 September 2022

​Recent years have seen increased attention paid to the individual bodies that made up premodern royal and princely courts, and how the courtly environment shaped the corporal experiences of everyone involved, from the ruler down to the servants. This interdisciplinary conference will explore the physicality of the court in four key contexts from across the lifecycle: bodies being born and giving birth; bodies as sexual actors or objects; bodies in courtly lifestyles; and dead and dying bodies. These common experiences were not one-size-fits-all, but took on particular political, social, and cultural consequence in the charged atmosphere of the court (which they in turn helped define).

Specific topics could include, but are not limited to:

• Successful and unsuccessful births at court
• Female bodies and childbirth
• Voluntary and involuntary childlessness
• Illegitimate births
• Newborn bodies and court ritual
• Sex life in courtly marriages
• Sex as a public or private affair
• Sexual liasons across unequal partners
• Gendered presentation and transgender bodies
• Queer sexualities (including bisexuality and asexuality) in court cultures
• Physical exercise and recreational pursuits
• Body performativity in courtly staging
• Courts and plagues
• Unexpected deaths
• Care for the aged and terminally ill
• Funerals at court
• The afterlives of royal and noble corpses

We welcome papers on these issues in any courtly context from 1200 to 1800, including global perspectives, from from scholars across the humanities, including history, art history, literature, and other related fields. The proceedings of the conference will be in English, but papers will be accepted in other languages.

Titles for 20-minute papers with abstracts of approximately 200 words should be submitted, along with brief biographical details of the speaker(s), by 15 February 2022 to ecconference2022@gmail.com. Panel proposals of 3–4 papers, roundtable discussions, or other formats are also welcome; these should include an overall title for the panel as well as the title, abstract, and biography for each individual contribution and speaker as above. Any questions can be directed to the organizers at ecconference2022@gmail.com.

Source : Embodied Court

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In this study, Micol Long looks at Latin letters written in Western Europe between 1070 and 1180 to reconstruct how monks and nuns learned from each other in a continuous, informal and reciprocal way during their daily communal life. The book challenges the common understanding of education as the transmission of knowledge via a hierarchical master–disciple learning model and shows how knowledge was also shared, exchanged, jointly processed and developed.

Long presents a new and more complicated picture of reciprocal knowledge exchanges, which could be horizontal and bottom-up as well as vertical, and where the same individuals could assume different educational roles depending on the specific circumstances and on the learning contents.

Micol Long, Ph.D. (Scuola Normale Superiore – Pisa, 2013) is Senior Postdoctoral Fellow of the Research Foundation – Flanders at Ghent University. She has authored publications on medieval letter-writing and monastic culture and co-edited Horizontal Learning in the High Middle Ages (2019).

Table des matières : ici

Informations pratiques :

Micol Long, Learning as Shared Practice in Monastic Communities, 1070-1180, Leiden–Boston, Brill, 2021 (Education and Society in the Middle Ages and Renaissance, Volume: 58). 320 p., 24 x 16 cm. ISBN : 978-90-04-46041-6. Prix : 129 euros.

Source : Brill