61st Annual Meeting of the Renaissance Society of America (RSA),
Berlin, March 26-28, 2015
Call for Papers
Family Business: Art Producing Dynasties in Early Modern
Europe
Deadline: June 08, 2014
Dynasties of artistic production, whose familial associations extended
for multiple generations and between siblings, were crucial to the
growth and stability of the art world in early modern Europe. The Della
Robbia of fifteenth and sixteenth century Florence are perhaps the most
familiar to us, but the extended artistic family was a common social
condition, a powerful business model, and a catalytic agent to
innovation. Children learned the trade of their elders to benefit the
family, to consolidate wealth, diminish costs, and to profit from the
experience, expertise, and connections of their elders or siblings.
Multi-generational artistic families benefited from this arrangement,
but how did artists adapt to changing clientele, styles, technologies,
rivalries, and creative impulses? What were the unique benefits and
challenges for the extended artistic family? This session explores
various aspects of art producing families, some of which extend beyond
five uninterrupted generations. Papers will examine physical and
financial arrangements, such as residences, studio spaces, contracts,
as well as stylistic and material innovation, and the patrons of
artistic dynasties from the early modern period (roughly 1300 – 1750).
Send inquiries to Arne Flaten: [log in to unmask]
or
Stephanie Miller: [log in to unmask]
Delimiting “the global” in Renaissance / Early Modern art
history
Deadline: June 05, 2014
In recent years calls to explore the global context for the production,
reception, and interpretation of art have fundamentally impacted art
history as a discipline. This has entailed a revision of Eurocentric
assumptions and the privileging of objects, artists, and artistic ideas
that apparently manifest cultural connectedness, hybridity, or
exchange. Nonetheless the very period label, whether “Renaissance” or
“Early Modern,” bespeaks presumptions regarding European exceptionalism
and agency. Likewise new approaches commonly grouped under the rubric
of “the global” participate in and produce widely divergent ideological
narratives, variously informed by post-colonial concerns and the
market-driven processes of globalization.
We ask participants to reflect upon the consequences and challenges
resulting from the “global turn” upon the discipline of Renaissance or
Early Modern art history. We invite papers that may go against the
grain, by asking what are the problematic limitations or omissions of a
global art history for our period? How have the pressures to find the
antecedents for contemporary globalization impacted the study of
Renaissance / Early Modern art?
We seek responses which explore these general questions, or use case
studies to investigate specific aspects of the problem. For instance,
are there cases in which apparent connectedness actually reveals a lack
of instantaneity or failure to communicate across cultural-linguistic
boundaries? Are there cases where the study of the global character of
the Early Modern period becomes another mode of affirming the primacy
of European technology or institutions? In what ways should we
incorporate instances of antagonistic interaction into our explorations
of global cultural exchange?
Please submit proposals to Kathryn Blair Moore ([log in to unmask]) and
Opher Mansour ([log in to unmask]) no later than June 5. You are kindly
requested to follow RSA submissions guidelines
(http://www.rsa.org/?Conferencesubmission). For speakers, these
comprise: paper title; 150 word abstract; one-page cv; list of keywords.
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