L'Agenda des Médiévistes

Haskins Society
Minnesota, USA
4-6 november 2016

Episcopus is working on a panel to sponsor for the 2016 meeting of the Haskins Society. Although the Haskins Society was at one time concerned almost entirely with later Anglo-Saxon, Anglo-Norman, and Angevin history, and French history in these periods, it has considerably expanded its geographical and chronological scope. The meeting will be November 4-6, 2016 in Northfield, Minnesota. It is small and intimate, with a high caliber of papers. There are no concurrent sessions, so everyone hears everything. You can find out more about the society here: http://haskinssociety.org/

Episcopus is exploring the possibility of a panel on Episcopal Diasporas: a session on episcopal transplantation from native home to another or on bishops on the move, e.g, as pilgrims, scholars, diplomats or warriors.

If you are interested in giving a paper on this topic, please send me an abstract of no more that 250 words as well as a vita by February 1, 2016.

Source : Episcopus

HNA will sponsor the following session at the Sixteenth Century Society conference to take place in Bruges, 18-20 August 2016. Please send paper proposals to the session chair as noted below. Please be advised that all participants are responsible for their own costs of travel, registration, membership, etc. For general information about the conference, please visit the website: http://www.sixteenthcentury.org/conference/

The Art of Renaissance Bruges

Renaissance Bruges was vibrant with artists, writers, and intellectuals. Despite the famous narrative of the city’s decline, it remained a distinctive and productive cultural centre, as the innovative exhibition Bruges and the Renaissance: Memling to Pourbus (1998) first argued.

In Bruges, eminent artists including Hans Memling, Gerard David, Adriaen Isenbrandt, Simon Bening, Lanceloot Blondeel, Pieter Pourbus, and Marcus Gheeraerts produced paintings, drawings, prints, maps, books, and monument designs. Many of these works have received limited attention, as have those made by Bruges artists working in other media like sculpture, tapestry, and stained glass. This relative neglect belies the cultural importance of Renaissance Bruges—the city was home to leading intellectuals like the humanist Juan Luis Vives, the jurist Joos de Damhouder, and the historian Jacob de Meyere. The great rederijkers Cornelis Everaert and Eduard de Dene spent their entire careers in Bruges. Local printers from Colard Mansion to Hubert Goltzius brought novel and learned texts to press. The city attracted noteworthy visitors such as Dürer, Erasmus, Thomas More, and Johannes Sambucus. It also nurtured its ties with the Habsburg court through large-scale projects like the monument to Margaret of Austria and the tombs of Mary of Burgundy and Charles the Bold. The varied art of Renaissance Bruges registers the issues that preoccupied the city itself and Netherlandish society and culture.

This panel invites papers that address artistic production, across all media, in late fifteenth- and sixteenth-century Bruges. Possible topics may include:

– late fifteenth- and sixteenth-century Bruges art in Netherlandish and Renaissance art history
– social networks of artists and patrons
– microhistories of patrons and collections
– projects for religious and political authorities
– artistic dynasties
– the role of the city artist
– the local art market
– Bruges art for export
– Bruges artists on the move
– interactions between workshops
– distinctive local forms and themes
– the impact of Reformation ideas on Bruges art and artists

Please email an abstract of 250 words, contact information, and a CV to Tianna Uchacz (tianna.uchacz@utoronto.ca) by January 31, 2016.

Newnham College, The University of Cambridge, May 5, 2016.

Confirmed Keynote Speaker: Professor Dr. Dagmar Eichberger (ERC-Projekt artifex, University of Trier; University of Heidelberg)

Sixteenth-century Germany was fascinated by pictorial books. An explosion of genres covering new and diverse secular subjects were envisioned not just in print, but in manuscripts and albums, carefully rendered by local artists. While the trend for these items existed throughout Europe, the level of enthusiasm for them in Germany was unparalleled. As such, the visual culture of early modern Germany is unique and exceptionally rich, fuelled by the imaginative, colourful artistry that went into the production of these books and manuscripts.

This workshop invites abstracts from graduate scholars and early-career researchers who specialise in all forms of these vibrant products, from fencing and tournament books, to books of costume, plants, genealogy, and heraldry, among other subjects. Too often these works have been investigated in isolation. Providing a platform to discuss the cultural and material characteristics these works share, this workshop seeks to understand how this exciting moment in the visual history of Germany developed and flourished. Above all we will ask, what roles did these books and manuscripts perform in their society, and how did their pictorial attributes assist their function? To what extent did they not merely reflect, but actively mediate the world around them?

We therefore invite papers that explore the following subjects and ideas:

• Genres such as: Geschlechterbücher, Ehren- and Stammbücher (Genealogy), Trachtenbücher and Kostümbücher (Dress), Fechtbücher (Combat), Wappenbücher (Heraldry), Hausbücher (Daily Life), Turnierbücher (Tournaments), Standbücher (Trades), Tierbücher (Animals), Herbaria and Pflanzenbücher (Plants), Feuerwerkbücher (Fireworks), Schembartbücher (Nuremberg Carnivals), Alba Amicorum (Friendship/Status), Travelogues etc.
• The commission, reception, and circulation of ambitious pictorial manuscripts, printed books and albums.
• The artistic and intellectual practices that went into these works’ materialisation: e.g. research, design, craft-knowledge, collaboration, and reproduction.
• Ideologies, agendas, and rhetorical strategies present in these works.
• The role of Germany’s print industry in the development of new genres.
• Transmission of imagery and the development of visual models.
• German historical context driving the production of these works.

Please send abstracts of c. 300 words to picturesparchmentandpaper@gmail.com by January, 1, 2016. For further information please contact the organiser, Katy Bond, University of Cambridge: klb72@cam.ac.uk. Although we are unable to assist with the cost of travel for speakers and attendees, catering will be provided and speakers invited to a networking dinner the evening of the workshop.

Please follow our site https://picturesparchmentandpaper.katybond.com for future updates and information.

Note: We would like to thank the committee of the DAAD-University of Cambridge Research Hub for their generous sponsorship of this workshop. The committee’s aim is to encourage and sustain relations between German and British scholars for the advancement of research around German subjects. This workshop therefore invites with particular enthusiasm the participation of scholars from Germany and abroad. N.B. papers must be presented in English.