This from the Italian Art Society:

The Kalamazoo committee has accepted the Italian Art Society's
proposal for four linked sessions for next year's conference. Although the
printed call for papers has not appeared yet, information on the
conference is now posted on the Western Michigan Univeristy, Medieval
Institute, International Congress web-site. It includes instructions
for proposing papers and a brief description of our sessions. What
follows here are the longer descriptions for the sessions composed by
the session chairs along with information on the chairs, who will be
forming the sessions and reading paper proposals. By Kalamazoo
procedures all proposals should be sent to me, as contact person, and I
will forward all proposals and information to the session chairs for
consideration. Any papers not adopted by the session chairs will be
sent on to the Kalamazoo committee for consideration for other sessions.

Please send proposals for papers, using the format and providing the
information required by the Kalamazoo committee in their publications or
on their web-site to the contact person:


Rebecca W. Corrie
Department of Art and Visual Culture
Olin Arts Center, Bates College
75 Russell Street
Lewiston, Maine 04240
207-786-6258
FAX: 207-786-8335
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FOUR LINKED SESSION ON WORKSHOP AND PRODUCTION IN ITALIAN ART:
400-1500.

WORKSHOP AND PRODUCTION IN ITALIAN ART, 400-1500 I: Media and Materials:
Chair and Presider: Dorothy Glass
Richard Krautheimer Gastprofessor
Bibliotheca Hertziana
Roma

This session seeks to explore the expressive possibilities, limitations,
and interactions among the many materials and media used by Italian
artists and craftsmen. One might, for example, want to look at the
appearance of a particular theme in more than one medium, favored media
for specific objects and the reasons for the choice, multi-media works,
materials used for a variety of different purposes, unusual and
uncharacteristic deployment of media and materials, conservation
problems pertinent to particular materials, and the provenance and cost
of such materials. Stimulating papers presenting new research are
particularly welcome.

Dorothy Glass is currently Richard Krautheimer Visting Professor at the
Hertziana in Rome. She recently retired to New York City after many
years of teaching at the State University of New York at Buffalo. She
has published extensively on Italian Romanesque sculpture including her
books, Portals, Pilgrimage and Crusade in Western Tuscany, Princeton ,
1997, and Romanesque Sculpture in Campania: Patrons, Programs, and
Style, Penn State Press, 1991. She has served as board member and
president of the International Center of Medieval Art.

WORKSHOP AND PRODUCTION IN ITALIAN ART, 400-1500 II: Transmission Across
Media
Chair and Presider: Cathleen A. Fleck
Department of Art and Archaeology
Washington University in St. Louis
St. Louis, MO 63130

Medieval and Renaissance art reveals to us that pictorial elements such
as iconography, style, compositions, and decorative motifs moved from
one medium to another -- begging the questions 'how' and 'why.' This
session seeks papers that explore the methods and meanings of such
exchange acorss media in Italian art (ca. 400-1500). Papers might cover
a wide range of themes, for example: How and why did a pictorial element
transition from one medium to another? What evidence of this transfer
do we have, be it visual or documentary? How does an individual artist
who worked in diverse media inform us? What might a patron's role be in
aiding such transmission? Did any special aspects of workshop practice
in one medium allow exchange with another. Were some types of pictorial
elements more conducive to exchange across media than others? What
manner of exchange do Italian monuments reveal with art forms beyond
their region? Papers are encourgaed that elucidate not only a
particular case, but also the broader issues of workshop and exhange
across media.

With her Ph.D. from Johns Hopkins, Cathleen A. Fleck is a scholar in
residence in the Department of Art History and Archaeology at the
Washington University in Saint Louis. She has published in Jewish Art,
Arte Medievale, and the Zeitschrift fur Kunstgeschichte on manuscripts
and frescoes in fourteenth-century Naples as well as in several Walters
Art Museum publications where she was visiting assistant curator of
manuscripts. Her own work has led her to question methods of exchange
between media in particular from monumental to miniature painting. Her
recent project a 'biography' of the Bible of the Anti-Pope Clement VII
(British Library, ms. Add. 47672) will examine the fascinating tale of
the Bible's Neapolitan creation (ca. 1330), its ownership by a bishop
and king, and its movement into and out of the papal library (from
1340-1423) during the popes' Avignon residency. Through case studies of
architecture, frescoes, and manuscripts, her book Papal Power and Royal
Prestige in the Fourteenth Century: A Bible at the Courts of Avignon and
Naples will compare the intriguing contexts of the medieval courts of
Naples and Avignon.

WORKSHOP AND PRODUCTION IN ITALIAN ART, 400-1500 III: The Family Workshop
Chair and Presider: Hayden Maginnis
Professor of the History of Art and Director
School of the Arts
McMaster University
Hamilton, ON

The history of art is so firmly committed to the model of master and
apprentice or master and follower that we may not pay enough attention
to the particular problems that arise with regard to the family
workshop. In addition, we often tend to see family workshops as
composed of one exceptional master surrounded by less distinguished
siblings. And, as that is the case, we may devote too little attention
to the internal dynamics of the family shop. This session invites
proposal for presentations on all aspects of the Italian family workshop
from the Middle Ages and Renaissance. Topics on, and approaches to, the
material are by no means restricted to those suggested above.

Hayden Maginnis is Professor of Art and Director of the School of the
Arts at McMaster University (Hamilton, Ontario). He is a specialist in
the history of early Italian art who has published numerous articles and
two recent volumes, Painting in the Age of Giotto and The World of the
Early Sienese Painter.

WORKSHOP AND PRODUCTION IN ITALIAN ART, 400-1500 IV: Economic and
Political Aspects of Workshops
Chair and Presider: Rebecca W. Corrie
Department of Art and Visual Culture
Bates College
Lewiston, ME

Investigations into the relationship between the organization of
artists' production practices and the economic and poltical structures
which shaped them are sought. Among other topics, papers might address
the economic underpinnings of workshop activity and the impact of
political systems on artists and ateliers, for example, their
relationships to city governments, courts, and elite clients, the
organization of monastic and secular workshops, and the careers of
itinterant and settled artists. Additional topics might include the
ways in which artistic production responded to or revealed the
differences between gift cultures and capitalist, producer-driven economies.

Rebecca W. Corrie is Phillips Professor of Art and Visual Culture at
Bates College, where she has also served as chair of the division of
humanities from 2000-2004 and as art department chair. She has been a
member of the board of directors of the International Center of Medieval
Art and the Byzantine Studies Conference. She has published extensively
on thirteenth-century Italian art including catalogue entries for the
Metroplitan Museum of Art's exhibitions Glory of Byzantium and
Byzantium: Faith and Power and articles on manuscripts produced by the
Conradin Bible atelier and on the political meaning of Sienese images of
the Virgin and Child. Among other projects, she is currently working on
a book on workshop problems in thirteenth-century manuscript ateliers in
the context of Tuscan politics.