ToC Number 25 December 2021

This contribution will attempt to show that Aby Warburg was basically still a formalist art historian, a representative of Stilgeschichte, who did strive to extend the narrow art historical question of style into a wider, cultural topic of the influence of Antiquity on subsequent historical periods, but he could hardly be labelled an iconographer in the usual sense, that is, as an art historian occupied primarily with the content of a work of art, as opposed to its form. The contribution will also attempt to demonstrate that his art historical work was not as fragmented and particularized as is usually believed, but was, on the contrary, guided throughout by a quite consistent vision of the development of art and its role in the cultural evolution of humanity

Free and open to all. Advanced booking required via: http://newartdialogues.eventbrite.co.uk This one day conference brings together the next generation of art history scholars to present and discuss their ongoing research. Papers will predominately focus on Italian and Northern Renaissance Art (c.1400–1600) and will encompass diverse media including tapestry, painting, engraving and stained glass. The conference will comprise five sessions. In the first four, two PhD students (or recent graduates) will present on topics that are united by common themes such as patronage, attribution and materiality. The final session, entitled ‘Opening New Dialogues’, will feature a paper by Professor Michelle O’Malley (Deputy Director and former PhD student at The Warburg). In order to foster the intellectual exchange central to ‘New Dialogues in Art History’ , the key paper(s) of each session will be followed by 20 minutes discussion. All enquires should be addressed to Genevieve Verdigel and Lydia Goodson at: [email protected]

ART HISTORY FOR ARTISTS: Interactions between scholarly discourse and artistic practice in the 19th century International Conference TU Berlin July 7-9, 2016

2019

This book accompanies the exhibition 'Bilder Auf Wanderscaft' that took place at the Zentralinstitut fur Kunstgeschichte in Munich. The book describes the archival elements to the 1941 photographic exhibition, English Art and the Mediterranean, that was a ground breaking photographic survey of Britain's relationship to European and Mediterranean culture. The Warburg Institute, as a refugee organisation, made this exhibition as a part of the war effort. It travelled to 20 destinations in the UK and was seen by over 20,000 people. This was groundbreaking for a number of reasons; this was the first proper survey of its type of 'English' art and it was an early example of an academic organisation searching for new audiences. The book details the archival objects related to the exhibition, its publication and it's wider context. Mick Finch co-edit and contributed to this publication.

BMGN - Low Countries Historical Review, 2013

Introduction to Warburg, Aby. The renewal of pagan antiquity: contributions to the cultural history of the Eu- ropean Renaissance. Los Angeles, CA: Getty Research Institute for the History of Art and the Humanities, 1999.

Making Her Mark: A History of Women Artists in Europe, 1400-1800, 2023

Convenors: Claire Jones, University of Birmingham and Imogen Hart, University of California, Berkeley. The history of sculpture has largely been written with an emphasis on free-standing, monumental, figurative, single-authored works created by named sculptors, primarily in bronze, marble and plaster. Decorative arts scholarship has been predominantly concerned with works created by named manufacturers, and with the impact of industrialisation on craft and related issues around mass production, taste, labour and commerce. Yet cross-fertilisations between sculpture and the decorative have played a vital role in the formal practices and aesthetics of art production, bringing sculptors into contact with diverse makers, materials, techniques, forms, colours, ornament, scales, styles, patrons, audiences and subject matter, to produce composite, multi-material, quasi-functional and multi-authored objects. This session will explore the decorative as a historically fertile, parallel and contested field of sculptural production. We invite proposals that address affinities between sculpture and the decorative in any culture or period from the Middle Ages to the present day, and which explore the cross-disciplinary connections between the institutional, biographical, conceptual, visual, material and professional histories of the two fields. Topics might include artistic autonomy and creativity; the fragment and the composite work; figuration and relief; the hierarchy of the arts; copyright and authorship; originality and reproduction; and the languages and histories of making and materials. We also welcome papers that examine sculpture and the decorative in relation to the racialization, nationalisation and gendering of the practices of art, craft and manufacturing. Click here to download a .pdf of this session's paper abstracts Martina Droth (Yale Center for British Art) Common Grounds of Making: Modelling for sculpture and decorative art in 19th-century Britain Amy F Ogata (University of Southern California) Aluminium Orfèvrerie and Second Empire France Margit Thøfner (University of East Anglia) Resonant Tendrils and Furtive Grimaces: The role of ornament in Abel Schrøder’s altarpiece for the church of Skt Morten, Næstved Emmelyn Butterfield-Rosen (Metropolitan Museum of Art) Beethoven’s Farewell: Klinger’s Beethoven-Denkmal ’in the claws of the Secession’ Conor Lucey (Trinity College Dublin) 18th-Century Property Speculation and the Sculptural Interior Anna Ferrari (Victoria and Albert Museum) Beyond the Studio in Interwar Paris: Henri Laurens with Robert Mallet-Stevens, Le Corbusier and Jean-Michel Frank Nina Lübbren (Anglia Ruskin University) Renée Sintenis, Milly Steger and German Sculpture, 1910–33 Angela Hesson (University of Melbourne/National Gallery of Victoria) Sirens on the Sideboard: Fantasy and function in Art Nouveau

In recent decades, the historical significance of the panel paintings by Jan van Eyck, Rogier van der Weyden, and the Flémalle group has been subject to debate. This essay analyses the shifts in gilding practices that accompanied the introduction of the fifteenth-century ars nova, arguing that the new panel painting marked a self-conscious departure from the luxury arts by asserting its value through representation alone, rather than through material worth. From the 1420s-30s onwards, Netherlandish panel paintings rejected gold-leaf backgrounds, and they also increasingly either relegated gilding to small details such as halos and heavenly rays, or incorporated it into pictorial representation. In addition, these paintings display a particularly intensive visual dialogue with contemporary sculpture and brocaded textiles, as a means of exploring painting’s superior capacity to depict persuasive surfaces in spatial depth. In establishing its independence from other contemporary art forms, and in promoting the intrinsic value of representation, early Netherlandish panel painting presaged the high status of painting in the ensuing centuries of the western canon, even though, in other respects, these works remained firmly rooted in earlier tradition. The rise of early Netherlandish painting thus sheds important light on the role of periodization within art-historical interpretation. Where a number of recent studies have perceived temporal instability within the content of medieval and Renaissance images, this essay proposes that historiographical assessment should take into account the specific material and conceptual qualities of different artistic media, and weigh the relative importance of their perceived references forwards and back in time. The research for this project developed over many years and eventually coalesced into a size and shape in between a typical book and a typical journal article. Digital publication on the University of York’s History of Art Research Portal enables this essay to be presented at its full length, incorporating far more material—especially a greater number of detailed illustrations—than is possible in traditional printed journals. Publication at full length also enables it to combine typically disparate methodologies and sub-fields: historiography, methodological reflection, technical analysis, and close looking at artworks in different media, from luxury objects and sculpture to panel painting. Most critically, the visual apparatus of digital publication supports this essay’s emphasis on the importance of contingent looking within particular lighting circumstances, a feature rarely considered in art-historical studies.