Academic Sessions: London 2008
Family values: Locating relatives in the Italian workshop
Session Convenors:
Louise Bourdua, History of Art, University of Aberdeen, Old Aberdeen, AB24 3FX, l.bourdua@abdn.ac.uk
Tom Nichols, History of Art, University of Aberdeen, Old Aberdeen, AB24 3FX, t.nichols@abdn.ac.uk
Speakers:
Jan Deryck Cox (University of Bristol) Lippo Memmi: Exemplar per eccellenza of the familial and familiar in the Sienese Trecento
Emily Jane Anderson (University of Glasgow) Vitale da Bologna and his Contemporaries: Family ties in Trecento Bologna
Meghan Callahan (Victoria and Albert Museum) The Spiritual Family of Lorenzo di Credi: The artist and Suor Domenica da Paradiso
Tom Nichols (University of Aberdeen) Surviving the ‘Father of Art’: Titian and end of the Renaissance tradition in Venice
Victoria Avery (University of Warwick) Alessandro Vittoria and his Relatives
Sophie Bostock (University of Warwick) The End of the Line
Session Abstract:
As Thomas Kuehn observed some years ago, the family was not just a ‘genetically constituted, co-residential unit of production and consumption. It was a group with practical interests that were mediated by cultural logic’ (Emancipation in Late Medieval Florence, Rutgers, 1982, p. 162). Whilst ‘patronage studies’ (including family relationship of patrons) has become a well-trodden field, much work remains to be done on the makers’ families. Our session addresses ‘family’ relationships within the workshop (fathers, sons {biological or adopted}, daughters, uncles, cousins, etc) from the middle ages to c.1700. ‘Family’, here, can be interpreted in a broad sense, which might include adoptions as well as biological relations. Papers will therefore consider issues such as marriage and the role of women in artistic families; the importance of lineage; the intersection between biological families and conceptual or professional affiliations; the impact of ‘family workshops’ on artistic style, or that of family conflict, breakdown or breakup.
In addition, ‘locating’ the family offers us an opportunity to consider the workshop per se. For instance, just as we have come to understand the Renaissance palace as the architectural embodiment of the Florentine patrician family, can the same be said of artistic workshops? Moreover, what do we know of physical and/or geographical makeup of the workshop during this period and its relationship to the ‘market’?
Louise Bourdua, History of Art, University of Aberdeen, Old Aberdeen, AB24 3FX, l.bourdua@abdn.ac.uk
Tom Nichols, History of Art, University of Aberdeen, Old Aberdeen, AB24 3FX, t.nichols@abdn.ac.uk
Speakers:
Jan Deryck Cox (University of Bristol) Lippo Memmi: Exemplar per eccellenza of the familial and familiar in the Sienese Trecento
Emily Jane Anderson (University of Glasgow) Vitale da Bologna and his Contemporaries: Family ties in Trecento Bologna
Meghan Callahan (Victoria and Albert Museum) The Spiritual Family of Lorenzo di Credi: The artist and Suor Domenica da Paradiso
Tom Nichols (University of Aberdeen) Surviving the ‘Father of Art’: Titian and end of the Renaissance tradition in Venice
Victoria Avery (University of Warwick) Alessandro Vittoria and his Relatives
Sophie Bostock (University of Warwick) The End of the Line
Session Abstract:
As Thomas Kuehn observed some years ago, the family was not just a ‘genetically constituted, co-residential unit of production and consumption. It was a group with practical interests that were mediated by cultural logic’ (Emancipation in Late Medieval Florence, Rutgers, 1982, p. 162). Whilst ‘patronage studies’ (including family relationship of patrons) has become a well-trodden field, much work remains to be done on the makers’ families. Our session addresses ‘family’ relationships within the workshop (fathers, sons {biological or adopted}, daughters, uncles, cousins, etc) from the middle ages to c.1700. ‘Family’, here, can be interpreted in a broad sense, which might include adoptions as well as biological relations. Papers will therefore consider issues such as marriage and the role of women in artistic families; the importance of lineage; the intersection between biological families and conceptual or professional affiliations; the impact of ‘family workshops’ on artistic style, or that of family conflict, breakdown or breakup.
In addition, ‘locating’ the family offers us an opportunity to consider the workshop per se. For instance, just as we have come to understand the Renaissance palace as the architectural embodiment of the Florentine patrician family, can the same be said of artistic workshops? Moreover, what do we know of physical and/or geographical makeup of the workshop during this period and its relationship to the ‘market’?