Work in Progress: Bringing Art into Being in the Early Modern Period


Fifth Early Modern Symposium

Saturday, 26 October 2013

09.30 - 18.00, Kenneth Clark Lecture Theatre (with registration from 09.00)

The Courtauld Institute of Art, London

book online


Giovanni Battista Moroni, Portrait of the sculptor Alessandro VittoriaGiovanni Battista Moroni, Portrait of the sculptor Alessandro Vittoria, c. 1553. Oil on canvas, 87.5 x 70 cm. Vienna, Kunsthistorisches Museum

Speaker(s): Stefan Albl (University of Vienna), Carrie Anderson (Massachusetts College of Art and Design, Boston), Carolin Behrmann (Kunsthistorisches Institut in Florence, Max-Planck-Institut), Anne Bloemacher (University of Münster), Letha Chien (University of California, Berkeley), James Hall (Independent art historian and critic), Sefy Hendler (Tel Aviv University), Claire Gapper (Independent architectural historian), David Gilks (Queen Mary, University of London), Vasco Nuno Figueiredo de Medeiros (University of Lisbon), Nikola Piperkov (Université Paris I Panthéon, Sorbonne), Joris Van Gastel (University of Warwick), Kamini Vellodi (Lecturer at Kingston University and Goldsmiths College), Foteini Vlachou (University of Lisbon)






Ticket/entry details:
£16 (£11 students, Courtauld staff/students and concessions) BOOK ONLINE http://courtauld-institute.digitalmuseum.co.uk   Or send a cheque made payable to ‘The Courtauld Institute of Art’ to: Research Forum Events Co-ordinator, Research Forum, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN, stating ‘Fifth Early Modern Symposium’.

Organised by: Anya Matthews and Giulia Martina Weston

International scholars will gather at this one-day symposium to explore artistic creation in the early modern period. What terms were used to indicate the various stages of bringing an artwork into being, and what implications did these terms have for authorship and authenticity? How did the self-conception of the artist change in the period and how did early modern art reflect on its own making? What role did competitive comparison between the visual arts play? How did contemporaries think about ruinous or unfinished artworks – and how should we? From the French Pantheon to the Venetian Scuola Grande di San Marco, the fourteen papers in the symposium will explore a wide variety of artistic media and practices across Europe in the period 1550 to 1800.

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