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Wednesday 11th November, 11.30am-6.30pm - Conference in Honour of Jennifer Fletcher, Kenneth Clark Lecture Theatre, Courtauld Institute of Art. No booking required. For programme visit http://www.courtauld.ac.uk/researchforum/conferences/current.shtml. Saturday 21st November, 10am-6pm - Conference: 'Everyday Objects: Art and Experience in Early Modern Europe' (Inaugural Early Modern Symposium), Research Forum South Room, Courtauld Institute of Art. For programme and booking details visit http://www.courtauld.ac.uk/researchforum/conferences/current.shtml. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Robert G. la France (curator of pre-modern art, Krannert Art Museum, University of Illinois at Urbana-Champaign; and Hanna Kiel Fellow, Villa I Tatti) will talk to the Collecting & Display Seminar about: Collecting Bachiacca's Creations at the Court of Cosimo de' Medici and Eleonora di Toledo Please note: this session will take place in Florence in collaboration with Florence University of the Arts. Rooms Michelangelo and Leonardo at FUA in Via Magliabechi 1, 50122 Florence. The Seminar would also like to announce that it is putting together a session on Collecting & Display at the forthcoming Society for Renaissance Studies conference in York 16-18 July 2010. Please send them your proposals by the end of November 2009: [log in to unmask] ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Call for Papers: The Artist at Work in Early Modern Italy (c. 1450–1700): Methods, Materials, Models, Mimesis Association of Art Historians Annual conference, Glasgow, April 15-17 2010. Jill Burke, University of Edinburgh ([log in to unmask]) Genevieve Warwick, University of Glasgow ([log in to unmask]) We invite proposals of up to 250 words on the following area by 9 November 2009. Thanks to the generosity of the Leverhulme Trust, some funding is available for speakers' travel costs where institutional funding is not possible. This session will examine the figure of the artist at work through a plurality of perspectives to probe issues of artistic labour in Renaissance and Baroque Italy. The period threw up competing models through which to constitute the artist’s working environment: as workshop, studio, academy for teaching, and cultural space for the production of artist-patron relations. Artistic practice was contingent on changing techniques and technologies, methods and materials, yoked to theories of imitation and invention. This intersection between working tools such as mirrors and lenses and an early modern theorisation of art as mimesis, may be traced through preparatory works as the residue of practice. The changing deployment and rendering of the artist’s model bears witness to this history. Portraits of artists also embody these developments in their changing occlusion or display of the artist’s studio, models, and working tools. The session convenors would welcome papers in any of the following areas: • Institutions: The Workshop, the Studio, the Academy • Materials and Methods • Techniques and Technologies: Tradition and Innovation • Preparatory Methods: drawings, sketches, bozzetti,modelli • The Artist’s Model • Artists’ Portraits • Imitation: Theories and Practices. • Invention: Art and Science.