Oproep: The Rijksmuseum Fellowship Programme

Het Rijksmuseum biedt elk jaar enkele fellowships aan bedoeld voor talentvolle, jonge onderzoekers. Voor 2020 werd de oproep zopas gelanceerd:

The Rijksmuseum welcomes international, independent research proposals which open new perspectives on the museum’s collection, its history and activities. The purpose of the Rijksmuseum Fellowship Programme is to encourage and support scholarly investigation, and to contribute to academic discourses while strengthening bonds between the museum and universities. The programme enables highly talented candidates to base part of their research at the Rijksmuseum, and offers access to the museum’s expertise, collections, library and laboratories. Furthermore, the programme facilitates opportunities for Fellows to engage in workshops and excursions to encourage exchange of knowledge – both amongst themselves and the broader museum audience.

Lees verder

Uitnodiging: “Romantici en Revolutionairen” (Amsterdam, 11 september 2019)

Vijf hedendaagse schrijvers/schrijvende wetenschappers gaan in op hun favoriete prototype auteur en reflecteren op de hedendaagse rol van schrijvers in de samenleving. Wat is de rol van de hedendaagse schrijver? Wil hij of zij de wereld veranderen en politiek engagement nastreven? Of is het juist beter afstand te nemen en kunst om de kunst te maken? En welke tussenposities zijn mogelijk? Wie naar de achttiende en negentiende eeuw kijkt, vindt allerlei prototype schrijvers die vandaag de dag nog steeds bestaan. Zo zijn er de revolutionairen, die de  wereld wilden verbeteren. Denk aan opruiende schrijvers als Bellamy of Multatuli. Maar er waren ook dichters die zich tegen de meer maatschappelijk gerichte auteurs afzetten. De Tachtiger Willem Kloos vatte die houding in een pakkende versregel samen: ‘Ik ben een God in ’t diepst van mijn gedachten’.

Sprekers: Abdelkader Benali, Maarten Doorman, Marita Mathijsen, Nelleke Noordervliet en Marleen de Vries
Muzikale omlijsting: Eveline de Bruin

Aanbieding boek: Aanleiding voor deze bijeenkomst is de verschijning van de nieuwe literatuurgeschiedenis Romantici en revolutionairen: Literatuur en schrijverschap in Nederland in de achttiende en negentiende eeuw van Lotte Jensen en Rick Honings. Dit rijk geïllustreerde boek stelt de positie van de auteur in de samenleving centraal: van domineedichter tot humorist, van idealist tot sentimentalist en van nationalist tot feminist.
Anne Vegter ontvangt het eerste exemplaar.

Praktisch
11 september, 15:30 – 17:30 uur
Tinbergenzaal, Trippenhuis, Kloveniersburgwal 29, Amsterdam
Toegang: gratis, aanmelden via https://akademievankunsten.nl/nl/agenda/literatuurlezing-akademie-van-kunsten-romantici-en-revolutionairen 

Boekpresentatie (Nijmegen, 7 juni 2019)

Op 7 juni 2019 wordt het boek Jacob Simonszoon de Rijk door Lucretia van Merken, in een editie van Lotte Jensen en Tommie van Wanrooij, in Nijmegen voorgesteld. Ter gelegenheid van de voorstelling, die plaats vindt in Huize Heyendael (Radboud Universiteit), vindt een studienamiddag plaats onder de titel Lucretia van Merken en haar tijdgenoten: De bloei van het toneel in de achttiende eeuw. Toegang is gratis, maar aanmelden is gewenst. Contact: Prof. dr. Lotte Jensen, l.jensen@let.ru.nl.

Lucretia van Merken, Jacob Simonszoon de Rijk (ed. Lotte Jensen en Tommie van Wanrooij) verschijnt bij Uitgeverij Vantilt (ISBN 978-9460044373).

Brochure boekpresentatie.jpg

Workshop: “Colonial Institutions and the Uses of Law in Early Modern South Asia”(Nijmegen, 28 januari 2019)

Op 28 januari 2019 vindt aan de Radboud Universiteit Nijmegen de workshop Colonial Institutions and the Uses of Law in Early Modern South Asia plaats. Meer informatie, inclusief relevante links, vindt u hier:

Colonial Institutions and the Uses of Law in Early Modern South Asia

In a collaboration between N.W. Posthumus’ Routes and Roots in Colonial and Global History network and the International Institute for Asian Studies, this workshop on local interactions and agency in relation to colonial legal institutions will be held at the Radboud University Nijmegen on 28 January, 2019.

As the first in the newly founded ‘Indian Ocean World in the 18th Century’- (IOW18) Workshop Series, this one-day workshop seeks to complicate teleological readings of law and its relationship to colonial institutions and state-making by drawing on contexts beyond and before British domination in the Indian subcontinent and the Indian Ocean World. By evoking the ‘uses of law’ we hope to capture both the constraints and opportunities the creation of colonial institutions posed for a wide range of people, whether colonial administrators, local elites, merchants, farmers or widows. 

The workshop will be concluded by a public lecture held by Dr. Nandini Chatterjee (University of Exeter), titled Signs and Words. Coded Expressions of Self and Authority in Legal Documents from Mughal India.

For more information on the program and abstracts, as well as the registration, click here.

 

Inaugurele rede Lotte Jensen “Wij tegen het water” (Nijmegen, 2 november 2018)

Op 2 november 2018, om 15u45, zal prof. dr. Lotte Jensen aan de Radboud Universiteit Nijmegen het hoogleraarschap (Nederlandse literatuur- en cultuurgeschiedenis) aanvaarden met een inaugurale rede getiteld Wij tegen het water: een eeuwenoude strijd.

De oratie bijwonen kan na aanmelding via www.ru.nl/jensen (aanmelden voor 22 oktober). Na uw aanmelding ontvangt u enkele dagen voor de oratie een toegangsbewijs. De oratie vindt plaats in de Aula van de Radboud Universiteit.

Call for Papers: “The Artistic Taste of Nations” (Amsterdam, 13-14 juni 2019)

Op 13 en 14 juni 2019 vindt aan de Vrije Universiteit Amsterdam het congres The Artistic Taste of Nations: Contesting Geographies of European Art, 1550-1815 plaats. Voor dat congres is onderstaande call for papers uitgegaan. Deadline voor het indienen van voorstellen is 15 november 2018.

The Artistic Taste of Nations: Contesting Geographies of European Art, 1550-1815 

This conference will be held on 13 and 14 June 2019 at Vrije Universiteit Amsterdam. Researchers are invited to submit papers scrutinizing the impact of the early modern notion of ‘school’ on the emergence of a geographical understanding of the visual arts in Europe. As an organizing principle in art collections and art books, this notion was used to indicate a range of different kinds of places, including artists’ workshops, art academies, cities, regions and nations in Europe. Its application was far from standardized, however, as evidenced by the broad debates, negotiations and contestations amongst scholars, collectors, dealers, agents and artists concerning the nature, prestige and identity of art and artists. Depending on the contexts in which such debates took place (e.g. scholarship, collecting, the market or aesthetics), the notion of school could be associated with issues of taste and civilization, human variety and national character, nature and climate, and commerce or knowledge. The concept of school was thus based on the location of certain practices and modalities of art, although it was equally suited to the active shaping of ideas about the European art world and, possibly, even about the nations of Europe. The early modern concept of school thus did not coincide with the modernnotion of national school. The extent to which it influenced modern forms of national-school classifications of art and national art history (which are currently under critical scrutiny by art historians with a geographical interest in the artistic exchange, transfer or circulation of early modern art) is open to debate (Gaehtgens 1993, Kaufmann 2004, Maës 2010). 

Geographical notions of school were widely adopted in both art books and art collections in early modern Europe. For example, in the art literature, Giorgio Vasari (1550/1568) referred only to schools of artists, even though he perceived differences between the production of art in Florence and Venice. Giovanni Battista Agucchi (c. 1607-15) was apparently the first to distinguish between schools of Italian painting (i.e. Roman, Venetian, Lombard and Tuscan). In the same period Karel van Mander (1604) took the geographic origins of artists – which now included the Low Countries and Germany in addition to Italy – as an organizing principle for their biographical compendia. This was also done later by Joachim von Sandrart (1675-80). With the notion of the ‘taste of nations’, Roger de Piles (1699) created a systematic connection between schools and nations, while securing a place for French art and artists on the European map of art. Similarly, geographical arrangements have appeared in collections from early times. In some cases, they were used in encyclopaedic collections, which usually tended to follow a thematic order and included objects from outside of Europe. They became predominant in print and drawing collections assembled by Basilius Amerbach (1533-1591), Louis Odespung de la Meschinière (1597-1655), Filippo Baldinucci (1624-97), Pierre Crozat (1661-1740), Heinrich von Heinecken (1707-91), Pieter Cornelis van Leyden (1717-88) and others. As it seems, geographical arrangements of art were systematized in paper collections even before they were adopted in picture galleries (e.g. in Düsseldorf, Dresden, Vienna, Florence and Paris).

Of special interest for this conference – and the planned publication of its proceedings – are case studies devoted to art collections and art literature, as well as the often-close connections between them. Case studies of collections may comprise those of an encyclopaedic nature, as well as those devoted to prints, drawings or paintings. Several approaches are considered particularly relevant to the geographical analyses of the case studies. First, the conceptual approach to the art-geographical notion of school, which has come to imply places of artistic tuition and modalities of art, as well as publics of art, as it became tied to the notion of nation (Peltre/ Lorentz 2007, Brunner/Koselleck 1972-97, Leerssen 2006). Second, the rise of art connoisseurship supplied an instrument for evaluating art works, artists and schools in Europe through mutual comparison and critical assessment (Griener 2010, Michel 2014, Smentek 2014). Third, the aspect of trans-local, trans-regional and/or trans-national networks has shaped geographies of art through travel, debate, correspondence, trade or agency in various parts of Europe (Meyer/ Savoy 2014, Keblusek 2011).

Papers may focus on but need not be limited to:

  • collections of prints, drawings, paintings or other art works, including within the context of encyclopaedic collections;
  • works of art literature in the widest sense of the term;
  • geographical arrangement as a form of mapping European art;
  • trans-local, trans-regional or trans-national discourses of art;
  • the concepts of art, school and nation, as well as the connections between them;
  • identity formationthrough artistic concepts of school, character, style or taste;
  • European networks of collectors, curators, scholars, dealers and artists;
  • increasing public access to collections and/or museums;
  • the rise of art connoisseurship and the critical evaluation of art;
  • values of art on the market;
  • the early-modern roots of modern national (and nationalistic) histories of art.

Proposals for papers should be submitted before 15 November 2018 (i.r.vermeulen@vu.nl). They should contain an abstract of no more than 300 words, as well as a brief biography (no more than 200 words). The conference will be held on 13 and 14 June 2019 at Vrije Universiteit Amsterdam. The costs of travel and accommodation will be covered for researchers whose proposals are selected. The conference is made possible by a fund from the Netherlands Organisation for Scientific Research (NWO), and it is realized in cooperation with the Rijksmuseum Amsterdam and the Interfaculty Research Institute for Culture, Cognition, History and Heritage (CLUE+) of Vrije Universiteit Amsterdam.

Concept and organization: Ingrid Vermeulen and Huigen Leeflang
Scientific committee: Ingrid Vermeulen, Frans Grijzenhout, Everhard Korthals-Altes, Huigen Leeflang, Joep Leerssen, Debora Meijers, Véronique Meyer, Arnold Witte.