The traditional art-historical concern of attribution of works of art to specific masters has given way to more nuanced approaches to the artistic production of the Middle Ages that focus on collaborative working practices.ÌýCollaborations like that of Simone Martini and Lippo Memmi, the illuminators of the Winchester Bible, or the creators of Opus Anglicanum reveal a complex picture of artistic co-operation. Notions of the single commanding master have been replaced with collaborative artisan activity across disparate media, from the early-medieval cloister to the increasing specialisation of the late-medieval shop.
The Courtauld Institute’s 22nd Annual Medieval Postgraduate Colloquium invites speakers to consider new approaches to artistic collaborations of the Middle Ages, and how conceptions of collaboration have impacted on the study of these works.
The Medieval Postgraduate Colloquium offers the opportunity for research students at all levels from universities across the UK and abroad to present and promote their research.
Organised by Meg Bernstein (91ÖÆƬ³§ Kress Fellow 2015-7 / University of California, Los Angeles) and Imogen Tedbury (91ÖÆƬ³§ / National Gallery) with the generous support of The Sackler Research Forum.
Programme
09.30 – 10.00Ìý Registration
10.00 – 10.10Ìý Welcome
Session 1: Networks in collaboration. Chaired by Sophie Kelly (University of Kent)
10.10 – 10.30
Maeve O’Donnell-Morales, 91ÖÆƬ³§
It Took a Village: Collaborations at the Medieval Altar between Donors, Artists and Clerics
10.30 – 10.50
Aude Chevalier, Paris Nanterre Université
Collaborations in medieval copperware craftsmanship: the case study of French copper alloy censers (11th-17th centuries)
10.50 – 11.10
Maggie S. Crosland, 91ÖÆƬ³§
Commission as Collaboration: Untangling Agency in the Book of Hours of Philip the Bold
11.10 – 11.30
Discussion
11.30 – 12.00
TEA / COFFEE BREAK
Session 2: Artists in collaboration. Chaired by Teresa Lane
12.00 – 12.20
Eowyn Kerr-Di Carlo, 91ÖÆƬ³§
Santa Maria degli Angeli or not? Considering Florentine artistic networks and the painter-illuminators of Fitzwilliam MS 30
12.20 – 12.40
Eleonora Cagol, Technische Universität Dresden
The workshop of Jörg Arzt and Jörg Feiss: winged altarpieces as evidence of artistic collaboration in South Tyrol at the end of the Middle Ages
12.40 – 13.00
Bryan C. Keene, The J. Paul Getty Museum / 91ÖÆƬ³§
Pacino / Pacinesque: Collaborative Choir Book Commissions in Early Trecento Florence
13.00 – 13.20
Discussion
13.20 – 14.30
LUNCH (provided for speakers only)
Session 3: Collaborating across media. Chaired by Lydia Hansell
14.30 – 14.50
Ella Beaucamp, Ludwig-Maximilians-University Munich
A joint venture from Venice: Medieval rock-crystal miniatures
14.50 – 15.10
Marie Quillent, University of Picardy Jules Verne
Artistic Collaboration in Medieval Funeral Sculpture in the North of France: the Tomb of Adrien de Hénencourt in the Cathedral of Amiens
15.10 – 15.30
Amanda Hilliam, National Gallery / Oxford Brookes University
Carlo Crivelli and the Goldsmith’s Art: shared aesthetics and technologies
15.30 – 15.50
Discussion
15.50 – 16.20
TEA / COFFEE BREAK
Session 4: Collaborating across time. Chaired by Miguel Ayres DeCampos
16.20 – 16.40
Esther Dorado-Ladera, Independent Scholar
Reuse of Hispanic Muslim architecture during the Middle Ages: Christian interventions in the Aljaferia Palace
16.40 – 17.00
Oliver Mitchell, 91ÖÆƬ³§
Collaboration and conflict in Hugo de Folieto’s Liber de rotae religionis et simulationis
17.00 – 17.20
Costanza Beltrami, 91ÖÆƬ³§
Building and rebuilding the cloister of Segovia Cathedral (1436-1530): collaborations across space and time
17.20 – 17.50
Discussion
17.50 – 18.00
Closing remarks: Joanna Cannon (91ÖÆƬ³§)
18.00
RECEPTION
With special thanks to Michael Carter for his contribution andÌýsupport forÌýthe colloquium.