Tag Archives: University of Oxford

ONLINE LECTURE SERIES: Slade Professor of Fine Art, Annual Lecture Series, 2021

The Department of History of Art of the University of Oxford is delighted to announce the Slade Professor for 2021 is Jerrilynn D. Dodds, Harlequin Adair Dammann Professor, Faculty of Art History, Sarah Lawrence College.  Professor Dodds’ scholarly work has centered on issues of transculturation, and how groups form identities through art and architecture. Among her publications are: Arts of Intimacy: Christians, Jews and Muslims in the Making of Castilian Culture, co-authored with Prof. Mara Menocal and Abigail Krasner Balbale; Architecture and Ideology of Early Medieval Spain; and New York Masjid, the Mosques of New York City. She was editor of the catalogue Al Andalus: The Arts of Islamic Spain (Metropolitan Museum of Art) and served as curator of the exhibition of the same name, at the Alhambra in Granada and in New York; co-editor and curatorial consultant of The Arts of Medieval Spain (with Little, Moralejo and Williams, Metropolitan Museum of Art); co-editor and consulting curator for Convivencia. The Arts of Jews, Christians and Muslims in Medieval Iberia (ed., with Glick and Mann, 1992); and, with Edward Sullivan, co-editor and curator for Crowning Glory, Images of the Virgin in the Arts of Portugal (Newark Museum). She has written and directed films in conjunction with museum exhibitions (Journey to St. James (MMA); An Imaginary East (MMA); NY Masjid (Storefront) and for wider audiences (Hearts and Stones: The Bridge at Mostar). Professor Dodds was the recipient of the Cruz de la Orden de Mérito Civil (Cross of the Order of Civil Merit) from the Government of Spain (2018).

Material Histories from Medieval Iberia

  1. An Agonistic History of Art (Wednesday 28 April 2021)
  2. The Great Mosque of Cordoba as Center and Periphery (Wednesday 5 May 2021) 
  3. Babylon in Flames (Wednesday 19 May 2021)
  4. Mudejar and Romanesque. Romanesque and Islam (Wednesday 26 May 2021)
  5. The Virgin as Colonial Agent (Wednesday 2 June 2021)
  6. Hunting in the Borderlands: Conversions and Translations (Wednesday 9 June 2021)

Details of where and how the lectures will be delivered will be made available as soon as possible.

Please see this page for updates.

Text from the Department of History of Art of the University of Oxford: https://www.hoa.ox.ac.uk/slade-lectures

ONLINE SEMINAR TONIGHT: The Cloister of Segovia Cathedral: Dislocation, Inheritance and Critique, 6-7:30 pm

Cloister door interior, image: https://www.sahgb.org.uk/whatson/seminar1

In tonight’s talk, Costanza Beltrami explores the long history of the cloister of Segovia cathedral. Shifting the analysis from the cloister’s construction to its conception and relocation, she will discuss such issues as collaboration, competition and conservation.

Please click here for more information and to register.

An invitation for ARTES members: Osma Centenary Conference, 7 February, Bodleian Library and Pembroke College, Oxford

Dear Fellow ARTES Members,

We look forward to celebrating the life and work of the first Spaniard to graduate from Oxford with you!

Osma Centenary
7 February
Bodleian Library
Pembroke College

Guillermo J. de Osma was the first Spaniard to study at Oxford after the Universities Test Act 1871, which opened Oxford, Cambridge and Durham universities to non-Anglicans. Osma was a diplomat, a politician, an art historian and an art collector. He served as the first president of the Board of Trustees of the Alhambra and founded the Instituto Valencia de Don Juan, a research centre in Madrid, which contains a wide-ranging collection of art works and archival materials, including medieval manuscripts, Philipp II’s state papers, textiles, ceramics, and rare books.

He then went on to found the first Spanish scholarship at Oxford – the Osma Studentship – in 1920. The Studentship, which was open to both men and women since its foundation, is under the exclusive remit of the Vice-Chancellor of the University of Oxford and has been held over the past century by many distinguished scholars and practitioners.

The one-day symposium will be held at the Bodleian Library on 7 February 2020 to coincide with the anniversary of Osma’s death and will convene Osma Students from across the generations and countries, specialists from Spain and the UK, and de Osma’s descendants from around the globe.

The symposium will be held in the Lecture Theatre at the Weston Library on Broad Street. Lunch will be served at Convocation House in the presence of the Vice-Chancellor, Professor Louise Richardson. After the symposium, we will make our way to Pembroke, where Osma read History, for an evening reception.

Welcome Coffee: 9.45 am
Start: 10.30 am
Reception: 5.30–7pm

Please click here for a conference programme and practical information.

For questions, contact: marina.perezdearcos@politics.ox.ac.uk 

Marina Perez de Arcos

Funding: I.M. Pei Graduate Scholarship in Islamic Art and Architecture (Oxford)

The Khalili Research Centre (University of Oxford) is offering a fully-funded graduate scholarship from the beginning of the academic year 2019–2020 for a student undertaking either doctoral research or a combined four-year programme consisting of a Master’s course proceeding to a D.Phil.

The Scholarship is awarded on the basis of academic merit and potential. The Scholarship will cover full course fees, and maintenance costs equivalent to the U.K. national minimum doctoral stipend. Applicants should first consult the Further Particulars that may be downloaded here.

Applicants, whether internal or external, should then apply to the University under the standard procedures for graduate degrees. The University’s application procedures are described at http://www.ox.ac.uk/admissions/graduate. Applications should be made on-line (www.graduate.ox.ac.uk/applyonline) and submitted before 12:00 noon on Friday 11 January 2019.

Applicants to the M.St., M.Phil. or D.Phil in Islamic Art and Archaeology at the Khalili Research Centre may also be considered for other fully-funded scholarships. For further details, please visit: https://krc.web.ox.ac.uk/article/courses

ARTES Coll & Cortés Travel Scholarship report: Sylvia Alvares-Correa (PhD Candidate, University of Oxford)

By Sylvia Alvares-Correa


Joos van Cleve (attr.)
The Annunciation
Oil on oak panel
Museu de Arte Sacra do Funchal, inv. MASF35


Detail of figure 1

The generous award funds provided by ARTES Coll&Cortes allowed me to travel to Lisbon to investigate the transmission of Flemish art, designs, and techniques to Portugal in the late medieval period, on which my PhD research is based. The trip fortuitously overlapped with the exhibition ‘The Islands of White Gold, Art Commissions in Madeira: 15th and 16th Centuries’ at the Museu Nacional De Arte Antiga as well as the ‘Medieval Europe in Motion—The Middle Ages, A Global Context?’ conference hosted at the Calouste Gulbenkian Foundation. Both introduced me to works of art and research with which I had not been familiar and underlined the complexity and ambiguity involved in defining artistic transmission.


Workshop or Circle of Quentin Metsys
Triptych of the Descent from the Cross
Oil on oak panel
Museu Nacional de Arte Antiga, Inv. 1285 Pint

The fluid movement of artists and designs between north and south during this period means that just because something looks Flemish doesn’t necessarily mean it is; unfortunately, ‘style’ is often the determinant factor in classifying the origin of artworks in museums as well as in literature. Production methods can help elucidate if not by who at least where an artwork was made. To this end, the research trip sponsored by ARTES Coll & Cortes allowed me to collect data on the different joinery methods used in 15th and 16th century panel painting. Specifically, I sought out works joined by perpendicular dowels. Internal dowels, the predominate joinery method found in the north, in some cases dictated by guild regulations, are less likely to disrupt the surface of the painting; perpendicular dowels, however, tend to protrude slightly to the surface over time and can often be discerned with the naked eye. Current research proposes that the latter joinery method was predominant exclusively in Portugal (though famously employed by Hugo van der Goes as well).



Detail of figure 2

My preliminary investigations, however, yielded evidence that perpendicular dowels were utilized not only Portuguese panel paintings, but also in panels believed to be imported from Flanders. While it is too early to draw conclusions, the diversity of joinery methods observed suggest that either perpendicular dowels were not as uncommon to northern production as has been supposed or that certain works in Portuguese collections which have been classified as ‘Flemish’ were perhaps produced locally. I’m looking forward to delving in further!






Mesoamerican Manuscripts, Oxford

Mesoamerican Manuscripts: New Scientific Approaches and Interpretations

Conference, exhibition and workshop

31 May – 2 June
Weston Library, University of Oxford

Display and discussion of the Bodleian Library’s five pre-Colonial and early Colonial Mexican manuscripts: Codex Selden, Codex Bodley, Codex Mendoza, Codex Laud and The Roll of the New Fire (or Selden Roll).

Presents recent findings on the making and historical significance of the Bodleian’s and other early, pictorial Mesoamerican manuscripts, situating them in the context of the pre-Columbian and colonial societies that produced them, describing the world they depict, and reflecting upon their meaning in contemporary Mexico and beyond.

More information (including Programme and Registration): Click here.