Tag Archives: Boston

Exhibition: Made in the Americas: The New World Discovers Asia (Boston, Winterthur)

2015-08-MadeInTheAmericas-Resized
Made in the Americas: The New World Discovers Asia
Boston, Museum of Fine Arts
18 August 2015 – 15 February 2016

Moves to

Winterthur Museum, Wilmington, Delaware, USA, 26 March 2016 – 8 January 2017

Survey exhibition of 94 items drawn from across the Americas from Canada to Peru all of which show influence of Chinese, Indian and Far Eastern imagery or incorporate their techniques into their own applied arts, such as eighteenth-century Mexican lacquer-work furniture and seventeenth-century Peruvian colonial embroidery.
Accompanying catalogue by Dennis Carr, with contributions by Gauvin Alexander Bailey, Timothy Brook, Mitchell Codding, Karina H. Corrigan, and Donna Pierce.

Review, by Eric Zafran, Burlington Magazine, December 2015, pp.885-6.

 

CFP: Art and Experience in 15th Century Naples: Renaissance Society of America, Boston 2016

62nd Annual Meeting of the Renaissance Society of America
Boston, 31 March–2 April 2016
Park Plaza Hotel and Hynes Convention Center

2015-05-Isabella Stewart Gardner Museum

Isabella Stewart Gardner Museum, Boston

Call for Papers: Art and Experience in 15th Century Naples: Defining an Artistic Center
(Deadline: May 31, 2015)
This panel investigates critical questions surrounding the study of fifteenth-century Neapolitan art. We invite papers that explore questions as fundamental as:

  • What is Neapolitan art?
  • Who were the predominant artists and patrons of the period?
  • What were the social and political functions of art in Quattrocento Naples and in what respect did they differ from those of other centers?
  • What was the relationship between court and city in the Aragonese period and what relevance did it have for the production of art?
  • Was there a conception of “napolitanità” in the fifteenth century, and if so, can it be linked to distinctive artistic styles, forms and types?

More specifically:

  • How did artists working in Naples handle the importation of foreign models, and which visual elements were adapted, translated, or dismissed during this process?
  • In what ways did Neapolitan art and artists participate in global networks of artistic exchange, and how did these trans-regional interactions impact material culture at home and abroad?
  • In what way does Naples challenge traditional art historical concepts and narratives such as “school” or “Renaissance”?

By 31 May please submit a paper title, 150-word abstract (preferably including an image), keywords, and a 300-word curriculum vitae to both organizers, Nicole Riesenberger (nriesenb@umd.edu) and Adrian Bremenkamp (adrian19@zedat.fu-berlin.de).

 

CFP: Framing the Renaissance in the 21st Century: Renaissance Society of America, Boston 2016

62nd Annual Meeting of the Renaissance Society of America
Boston, 31 March–2 April 2016
Park Plaza Hotel and Hynes Convention Center

2015-05-Isabella Stewart Gardner Museum

Isabella Stewart Gardner Museum, Boston

Call for Papers: Framing the Renaissance in the 21st Century
(Deadline: June 5, 2015)
Claire Farago’s 1995 edited volume, Reframing the Renaissance, has had a tremendous impact on the field of early modern art history. On the 21st anniversary of its publication, we invite scholars to reflect on its role in transforming the way we approach the visual cultures of the early modern world. We are interested in papers that address the ways Reframing has helped precipitate broader historiographical, geographical, and pedagogical reformulations of the “Global Renaissance” and contemporaneous visual cultures. What challenges do we still face in writing histories of art produced within the contexts of exploration, conquest, colonialism, and imperialism? How can we enhance our methodologies to approach art historical phenomena beyond the inhibiting geopolitical constructs of nation states, or even continents? If the Renaissance was “Reframed” in 1995, which qualifier would we use in 2016: Globalized? Decentered? Decolonized? We invite scholars from different generations and subdisciplines to offer insights on the ways that Reframing the Renaissance has changed the field as we know it and to expand its applicability to new scholarly arenas.

Please send a 150-word abstract and a 300-word CV to Eloise Quiñones Keber (equinones213@gmail.com) and Ananda Cohen Suarez (aic42@cornell.edu) by June 5, 2015.

 

CFP: Beyond the Wanderjahr: Microhistories of artistic travel in Renaissance Europe: Renaissance Society of America, Boston 2016

62nd Annual Meeting of the Renaissance Society of America
Boston, 31 March–2 April 2016
Park Plaza Hotel and Hynes Convention Center

2015-05-Isabella Stewart Gardner Museum

Isabella Stewart Gardner Museum, Boston

CFP: Beyond the Wanderjahr: Microhistories of artistic travel in Renaissance Europe
(Deadline: June 6, 2015)
Recent scholarship has emphasized the extent to which works of art circulated in fifteenth- and early-sixteenth-century Europe, but the movements of individual artists, less tangible and less easily categorized as an aggregate whole, bear witness to exchange and dialogue at a more localized level. Beyond the famous examples of individual travellers crossing the Alps (Fouquet, Dürer, Gossaert, Van Heemskerck), many lesser-known cases of peripatetic displacement occurred, motivated by a variety of concerns beyond the nebulous desire to explore new areas for proto-touristic or proto-art-historical reasons. The diplomatic excursions of Jan van Eyck to Portugal and Gentile Bellini to Istanbul are well-known, but how do the seemingly erratic circulations of Michel Sittow (from Tallinn to Flanders to Denmark to Toledo), Aristotile Fioravanti (from Bologna to Moscow) or Nicolò Brancaleon (from Venice to Ethiopia) confirm or challenge received notions of center versus periphery, heartland versus hinterland? Furthermore, how can physical evidence of artistic travel by anonymous craftsmen (masons, sculptors, weavers, armorers) be addressed by a discipline still deeply inflected by its commitment to Grand Tour geopolitics and the North/South divide? How did artists themselves perceive geographical and political boundaries, and how can lesser-known instances of individual travel across broader geographic distances be appreciated both as unique events and as indices of wider concerns? Returning to the individual narrative, this session seeks to “ask large questions in small places” by examining the lived realities of artists’ journeys in Renaissance Europe.

Please submit proposals electronically to Nicholas Herman (nicholas.herman@umontreal.ca) and Susie Nash (susie.nash@courtauld.ac.uk) by June 6th, 2015.

Proposals should include the paper title, a short abstract (150 word maximum), and a brief curriculum vitae (300 word maximum).

 

Goya: Order and Disorder, Boston: Exhibition closes 19 January 2015

2015-01-Goya-OrderAndDisorder-MFA
Goya: Order and Disorder, Museum of Fine Arts, Boston. Exhibition closes 19 January 2015.
exhibition dedicated to Spanish master Francisco Goya (1746–1828).
The largest retrospective of the artist to take place in America in 25 years, this exhibition features 170 paintings, prints and drawings. It includes many loans from Europe and the US, including 21 works from the Museo Nacional del Prado in Madrid, along with loans from the Musée du Louvre, the Galleria degli Uffizi, The Metropolitan Museum of Art, the National Gallery of Art (Washington) and private collections. Also on display are some 60 works from the MFA’s collection of Goya’s works on paper.
The exhibition catalogue includes texts by Stephanie Loeb Stepanek, Frederick Ilchman, Janis A. Tomlinson, Clifford S. Ackley, Jane E. Braun, Manuela B. Mena Marqués, Gudrun Maurer, Elisabetta Polidori, Sue W. Reed, Benjamin Weiss, Juliet Wilson-Bareau.