Academic Sessions: London 2003
Hierarchy in Late Medieval and Renaissance Art
Convenors:
Luke Syson, Research Dept., Victoria and Albert Museum, Cromwell Road, South Kensington, London SW7 2RL. Tel: 020 7942 2454; l.syson@vam.ac.uk
Alison Wright, Dept. of History of Art, University College London, Gower Street, London WC1E 6BT. Tel: 020 7679 7530; alison.wright@ucl.ac.uk
Abstract:
The drawing of distinctions, whether in relative status, honour or values of other kinds, is a constant feature of Late Medieval and Early Modern thought and discourse. This session considers how, and how far, hierarchical conceptions inform the types, construction and reception of images and objects in (though not necessarily from) western Europe in the 14th to 16th centuries. Attention is given to the relationship between different hierarchical models as they operated in social, political, religious and artistic spheres, how these shift over time, as well as to the importance of understanding how images/objects help to affirm, construct or subvert hierarchies within different societies rather than simply reflect them.
Patricia Rubin (Courtauld Institute of Art) Hierarchies of Vision: Fra Angelico’s Coronation of the Virgin for San Domenico, Fiesole.
Fabrizio Nevola (Warwick University) From Civic Facade to Elite Development: Patronage Typologies in Siennese Palace Streets c.I460–1520.
Adrian W.B. Randolph (Dartmouth College) Flipped: Gender, Spectatorship and Figural Inversions in Italian Late Medieval and Renaissance Art.
David R. Smith (University of New Hampshire) Portrait and Counter–Portrait in Holbein’s The Family of Thomas More.
Sally Korman (Courtauld Institute of Art) Image, Action, Devotion: Savonarola and the Printed Page.
Alexander Nagel (University of Toronto) High Art as Paradox in the Renaissance.
Michelle O\'Malley (University of Sussex) Altarpieces and Agency Tom Campbell (European Sculpture and Decorative Arts, Metropolitan Museum of Art, New York) Threads of Magnificence: The Valuation of Renaissance Tapestries.
Denise Allen (The Frick Collection, New York) Towards a Material Decorum: Cellini and Michelangelo on Golds, Gemstones and Presentation Drawings.
Peta Motture (Victoria and Albert Museum, London) Bronze and Bronzes in the Renaissance: Hierarchies of material and making.
Marietta Cambareri (Museum of Fine Arts, Boston) Subject/Skill/Material: The Spur of Hierarchy in Sculptural Representations in 16th–Century Italy.
Georgia Clarke (Courtauld Institute of Art, London) Hierarchies of Language and Architecture.
Stephen J. Campbell (The Johns Hopkins University, Baltimore) Decentering Rome: Mantegna, Correggio and the Gonzaga.
Christopher Poke (Independent Scholar) Absolutely Grotesque: a Journey to the Lower Depths of the Art of Printmaking.
Luke Syson, Research Dept., Victoria and Albert Museum, Cromwell Road, South Kensington, London SW7 2RL. Tel: 020 7942 2454; l.syson@vam.ac.uk
Alison Wright, Dept. of History of Art, University College London, Gower Street, London WC1E 6BT. Tel: 020 7679 7530; alison.wright@ucl.ac.uk
Abstract:
The drawing of distinctions, whether in relative status, honour or values of other kinds, is a constant feature of Late Medieval and Early Modern thought and discourse. This session considers how, and how far, hierarchical conceptions inform the types, construction and reception of images and objects in (though not necessarily from) western Europe in the 14th to 16th centuries. Attention is given to the relationship between different hierarchical models as they operated in social, political, religious and artistic spheres, how these shift over time, as well as to the importance of understanding how images/objects help to affirm, construct or subvert hierarchies within different societies rather than simply reflect them.
Patricia Rubin (Courtauld Institute of Art) Hierarchies of Vision: Fra Angelico’s Coronation of the Virgin for San Domenico, Fiesole.
Fabrizio Nevola (Warwick University) From Civic Facade to Elite Development: Patronage Typologies in Siennese Palace Streets c.I460–1520.
Adrian W.B. Randolph (Dartmouth College) Flipped: Gender, Spectatorship and Figural Inversions in Italian Late Medieval and Renaissance Art.
David R. Smith (University of New Hampshire) Portrait and Counter–Portrait in Holbein’s The Family of Thomas More.
Sally Korman (Courtauld Institute of Art) Image, Action, Devotion: Savonarola and the Printed Page.
Alexander Nagel (University of Toronto) High Art as Paradox in the Renaissance.
Michelle O\'Malley (University of Sussex) Altarpieces and Agency Tom Campbell (European Sculpture and Decorative Arts, Metropolitan Museum of Art, New York) Threads of Magnificence: The Valuation of Renaissance Tapestries.
Denise Allen (The Frick Collection, New York) Towards a Material Decorum: Cellini and Michelangelo on Golds, Gemstones and Presentation Drawings.
Peta Motture (Victoria and Albert Museum, London) Bronze and Bronzes in the Renaissance: Hierarchies of material and making.
Marietta Cambareri (Museum of Fine Arts, Boston) Subject/Skill/Material: The Spur of Hierarchy in Sculptural Representations in 16th–Century Italy.
Georgia Clarke (Courtauld Institute of Art, London) Hierarchies of Language and Architecture.
Stephen J. Campbell (The Johns Hopkins University, Baltimore) Decentering Rome: Mantegna, Correggio and the Gonzaga.
Christopher Poke (Independent Scholar) Absolutely Grotesque: a Journey to the Lower Depths of the Art of Printmaking.