University of York, June 14, 2019
Deadline: Mar 29, 2019
When art makes the headlines, it is usually about money. In 2017, Leonardo da Vinci’s Salvator Mundi sold for over $450 million at Christie’s New York. Just how can a painting be worth more than a penthouse on Fifth Avenue
The Frick is pleased to announce their forthcoming lecture “Provenance: Can You Bank On It?” presented at The Frick Collection by
Frances Carey – Independant scholar
Organised by Dr Klara Kemp- Welch – The Courtauld Institute of Art
Over a fifty-year period from 1894, Munch produced some 850 different printed compositions with as many as 30,000 impressions. His prints were exhibited on at least 268 occasions between 1895 and 1942 and a catalogue raisonné had been published by the end of 1907. Who was his audience and what capital, cultural as well as financial, did the work require?
The seminar anticipates the British Museum’s print exhibition (in association with the Munchmuseet in Oslo): Edvard Munch: Love and Angst from 11 April – 21 July 2019.
Continue reading “ANN: Seminar: THE MARKET FOR MUNCH, Monday 11th 17:00-18:00, The Courtauld Institute of Art, London”
Lucca, Tuscany, Italy
Application deadline: Apr 23, 2019
Applications are now being accepted for the 2019/20 PhD Programs at the IMT School for Advanced Studies Lucca (www.imtlucca.it), one of the six Schools of Excellence in Italy and one of the highest rated graduate schools in Europe according to the most recent U-Multirank survey. Highly motivated candidates from all disciplines
Institut National d’Histoire de l’Art, Paris, June 05, 2019
Deadline: Apr 5, 2019
Appel à communication : “Le marché de l’art dans la seconde moitié du XVIIIe siècle : expertises, négociations et controverses”
Brno, Masaryk University, Hans Belting Library, October 14 – 15, 2019
Deadline: Mar 31, 2019
Rome in a Global World: Visual Cultures during the Carolingian Transition
The transformation of the geopolitical layout of the West caused by the rise of the Carolingian dynasty and a gradual separation from Byzantium placed Rome in a different and somewhat marginal situation, where new developments in visual culture emerged.
Roma – Gallerie Nazioni di Arte Antica, Palazzo Barberini, June 12 – 13, 2019
Deadline: Apr 10, 2019
Barocco in chiaroscuro. Persistenze e rielaborazioni del caravaggismo nell’arte del Seicento.
Roma, Napoli, Venezia 1630-1670.
Organizzazione e coordinamento scientifico: Alessandro Cosma, Yuri Primarosa
Al termine della mostra “Il trionfo dei sensi. Nuova luce su Mattia e Gregorio Preti” (Palazzo Barberini, 22 febbraio – 16 giugno 2019), le Gallerie Nazionali di Arte Antica ospiteranno un convegno internazionale di studi per tornare a riflettere su un importante nodo critico della pittura seicentesca: i tempi e i modi in cui le diverse declinazioni del naturalismo caravaggesco si sono susseguite o, per meglio dire, sovrapposte alle variegate istanze classiciste e barocche nei decenni centrali del secolo. Si è soliti leggere nei manuali di storia dell’arte e in molti saggi specialistici che la moda generata dalle opere di Caravaggio si sia rapidamente conclusa attorno al 1630, ovvero all’indomani del ciclo di tele commissionato da Asdrubale Mattei e della tragica scomparsa di Valentin de Boulogne (1632). Ma le cose sono andate proprio così? È davvero questa la fine anagrafica del caravaggismo? Esisteva una fetta di mercato che, ancora negli anni Trenta, Quaranta e Cinquanta, richiedeva opere dipinte dal naturale qualificate da forti contrasti chiaroscurali?
