Ausschreibungen

CALL FOR PAPERS

Tagung: Vermittler_innen zwischen den Kulturen (Deadline: 1.12. 2017)

12. Oktober – 14. Oktober 2018
Museum der Moderne Salzburg
http://www.museumdermoderne.at/de/das-museum/aus-dem-museum/

Tagung: Codierungen. Phänomene der Umwertung von Kunst (Deadline: 20. 11. 2017)

04. Oktober – 06. Oktober 2018
2. Forum Neuzeit des Deutschen Vereins für Kunstwissenschaft e.V.
Bonn, Rheinische Friedrich-Wilhelms-Universität
http://neuzeitkongress.de/page/de/kuenftige-tagungen.php

Call for Publishing: Netherlands Yearbook for History of Art,

issue: Connoisseurship: https://arthist.net/archive/16633
(Deadline: 15. 01. 2018)

Fellowships/Stip/Postdoc/PhD/

Postdoc-Fellowship des Goethe-Instituts am Haus der Kunst / München

(Deadline: 14.01. 2018)
http://www.hausderkunst.de/index.php?id=899&L=1

Postdoc-Stelle im Rahmen des Graduiertenkollegs 2212 der Universität Köln

(Deadline: 08. Dezember 2018):
https://arthist.net/archive/16546 
http://jobs.zeit.de/jobs/koeln_postdoc-stelle_an_der_philosophischen_fakultaet_im_rahmen_des_graduiertenkollegs_2212_dynamiken_der_149015.html

15 LMU Research Fellowships

(Deadline: 01. 12. 2017)
http://www.en.unimuenchen.de/about_lmu/research/excellence_initiative/institutional_strategy/junior_academics/academic_career/research_fellowship/index.html

Rijksmuseum Fellowship Programme for the 2018-2019 academic year

(Deadline: 14.01.2018)
https://www.rijksmuseum.nl/en/fellowships

CALL FOR PAPERS

Workshop: Hybridisation in Natural History?
Materials and Texts Between Asia and Europe, 17th and 18th Centuries

February 21–24, 2018
Organized by Maria-Theresia Leuker, Esther Helena Arens and Charlotte Kießling

CALL FOR PAPERS

Brüssel, Royal Institute for Cultural Heritage (KIK-IRPA)
A new look at the confiscation of heritage objects in Europe at the time of the French Revolution
Date: Wednesday 30 and Thursday 31 May 2018
Deadline: 8 November 2017

Art historical seminar of the KIK-IRPA no. 19
In collaboration with the Groupe d’études du XVIIIe siècle et des révolutions de l’Université de Liège and the Centrum Rubenianum Antwerp

Batavia in Bavaria. Niederländische und flämische Kunst und Künstler in Süddeutschland
München, Institut für Kunstgeschichte, Ludwig-Maximilians-Universität und Zentralinstitut
für Kunstgeschichte, 12.-14. Oktober 2017
CALL FOR POSTERS

Im Rahmen der Jahrestagung des Arbeitskreises Niederländische Kunst- und Kulturgeschichte (ANKK) vom 12. bis 14. Oktober 2017 in München

STELLEN
weißensee kunsthochschule berlin
Bewerbungsschluß: 31. August 2017

Ausschreibungstext auf der Website der Institution:

Call for papers
VACANCY: DOCTORAL FELLOWSHIP EARLY MODERN HISTORY

The research group Early Modern History at the KU Leuven is looking for an enthousiastic doctoral student, who is willing to write and defend…
The research group Early Modern History at the KU Leuven is looking for an enthousiastic doctoral student, who is willing to write and defend a doctoral dissertation regarding burial disputes during the Dutch Revolt by studying the cities of Antwerp, Utrecht and Valenciennes.

  1. Workshop VANITAS. Neubetrachtungen eines alten Bildkonzepts
  2. Session at Historians of Netherlandish Art Conference
  3. Bilder exotischer Tiere zwischen wissenschaftlicher Erfassung und gesellschaftlicher Normierung 1500 – 1800
  4. Northerners in Italy: Negotiating Style, Art Markets, and Comunità

Workshop VANITAS. Neubetrachtungen eines alten Bildkonzepts
International Conference Historians of Netherlandish Art (HNA), Ghent, May 24-26, 2018 ANKK-sponsored Session
VANITAS. Neubetrachtungen eines alten Bildkonzepts

Ghent, HNA Conference
Deadline: 31.05.2017
Pevsner’s Blind Spots. Organization and Representation of Art Academies
in the Northern and Southern Netherlands

Nicolaus Pevsner’s Academies of Art. Past and Present was first published in 1940. Without a doubt, his Academies is still a standard reference work. Nevertheless, it consolidated the alleged incompatibility of the Netherlandish and the French / Italian art system and hereby created a gap and hierarchy between the different art academies still recognizable in recent research. Pevsner’s largely idealized description of the French Academy was already in contrast to the situation in Antwerp. But above all, the Northern Netherlands appear to be diametrically opposed to this ideal. Pevsner exemplified his concept based on the artists Rembrandt and Charles LeBrun and regarded the Dutch group of buyers as characterized by a less developed tradition in matters of art collecting as well as a less trained ability to judge art and as having a much simpler taste. This, according to Pevsner, had damaging consequences: To satisfy the taste of these amateurs on a shapeless anonymous art market the Netherlandish artists were often forced to produce a huge amount of paintings of low quality. Interdisciplinary approaches in various fields of research – e.g. the examination of statutes and ordinances of the different guilds and academies or prosopographical analysis of the members of the Saint Luke’s guilds (Bruges, Ghent, Antwerp) – have helped to revise this one-sided image of Netherlandish academies in recent years. Nevertheless, major desiderata still exist, e.g. regarding a historically appropriate terminology: A more precise definition of the different types of academies, brotherhoods, confraternities and guilds is still lacking. Scholars have suggested the concept of an „informal art academy“ or „drawing school“, as, among others, Hessel Miedema recommended instead of using the term „academy“

The session seeks to analyse Pevsner’s ‚legacy’ or, better, his ‚blind spots’ of academies within the geography of Northern Art and aims at paving the way for an examination of the organization, training and networking of Northern artists in a comparative analysis. We try to examine the artistic processes of exchange without overestimating the ideal of the French academy as the only historically valuable template for the concept of academia. Besides terminological questions the session aims to discuss the role of artists within Dutch and Flemish „academies“. How can the artistic contribution (allegorical visualizations; decorative programs) to the different academic spaces of art (meeting halls, ephemeral art on processions, ceremonial acts or a blijde incomst) be defined? Gender topics, e.g. the exclusion and inclusion of female members in Netherlandish and Flemish academies compared to those in Germany or France, also ties in with essential research objectives. Which artists were „border crossers“ between guilds and academies (e.g. artists in Den Haag)? How did this situation influence their work and in which cities did the academies emerge out of the guild of Saint Luke (e.g. Antwerp)? And yet another topic has also been underestimated so far: How far can the written or painted self- portrayal of the artist as a member of the academy or of a rederijkerskamer affiliated with this organization be inter-preted as a conscious act of selfacademization? We invite scholars to submit abstracts in English of max. 250 words and a short cv (100 words) no later than May 31 2017 to Diese E-Mail-Adresse ist vor Spambots geschützt! Zur Anzeige muss JavaScript eingeschaltet sein! and Diese E-Mail-Adresse ist vor Spambots geschützt! Zur Anzeige muss JavaScript eingeschaltet sein!. If you submit a proposal to more than one session, you should notify the chairs in advance. Only papers that are un-published will be considered.
Speakers must be HNA members at the time of the conference.
The conference language will be English.

 

Call for Papers & Workshops ANKK-Annual Conference 2017

English Version

Batavia in Bavaria. Niederländische und flämische Kunst und Künstler in Süddeutschland
Call for Papers & Workshops

Wenn von den überregionalen Inspirationsquellen für die Kunst und Kultur Süddeutschlands die Rede ist, wird meist an erster Stelle auf Italien verwiesen. Dennoch lassen sich über Jahrhunderte hin verschiedenste Verbindungen in die Niederlande und nach Flandern feststellen, die die Kunst, Kultur und Wissenschaft „südlich der Mainlinie“ mitgeprägt haben.
Im Mittelalter waren es vor allem dynastische Kontakte, die den Austausch förderten. Zwischen 1353 und 1429 bestand durch das Teilherzogtum Straubing-Holland eine direkte politische Verbindung der Wittelsbacher in die Niederlande, die die Mobilität der Künstler und Handwerker zwischen den zwei weit entfernten Territorien begünstigte. Mit der sogenannten Doppelhochzeit von Cambrai (1385) schloss Herzog Albrecht I. ein Heiratsbündnis mit dem Herzogtum Burgund, dessen materielle Zeugnisse einige Prunkstücke der Münchner Schatzkammer sind, wie etwa das Bildnis-Medaillon von Philipp dem Guten von Burgund, der 1454 bei den Bayerischen Herzögen zu Gast war.

Rijksmuseum & RKD Summer School

From 13 to 22 August 2017 the Rijksmuseum and the RKD – Netherlands Institute for Art History organise a Summer School which offers a unique, in-depth immersion into 17th-century Netherlandish art and history. The 2017 edition of the Summer School is themed around ‘Dutch art in an international perspective’.
As national institutions, The Rijksmuseum and the RKD share a mission to further develop the understanding of Netherlandish art and history for the future by conducting and facilitating high-level research. Dating back to 1992, the institutions have joined forces to organize a biennial Summer School with the goal of offering the next generation of art historians the opportunity to enrich and deepen their knowledge of Netherlandish art. The exclusive programme enables candidates to immerse themselves within the Dutch art world and museum field, and build up a relevant network.