maandag 30 november 2015

CFP Conference ‘Visions of the North’, Warwickshire, 17 June 2016

‘Visions of the North’: Reinventing the Germanic ‘North’ in Nineteenth-Century Art and Visual Culture in Britain and the Low Countries

A one-day international conference to be held at Compton Verney Museum, Warwickshire, UK: Friday 17th June 2016

Call for Papers

The aim of this conference is to develop new scholarly insights into the neglected transmission of Netherlandish and German art and thought in nineteenth-century British art and visual culture. It builds on new scholarship generated by an earlier conference, ‘Primitive Renaissances’, at The National Gallery, London (2014), which explored interest in Northern medieval and early Renaissance art and visual culture in later nineteenth-century Europe – in art, writings, collections and in identities of cultural heritage – potently symbolized in the expression of the so-called Northern artist ‘primitive’. ‘Visions of the North’ will develop and complement this first initiative. But its focus is specific ways in which nineteenth-century British art and visual culture, in dialogue with the Low Countries, especially Belgium, engaged with early Netherlandish and German art in shaping modern reinventions and perceptions of their ‘Northern’ identities. The routes by which interest in early Germanic art was developed and disseminated in nineteenth-century Britain and the Low Countries, its linking with German Romantic thought, the responses of British and Belgian collectors, audiences and readers, and the value of its cultural reception are still little understood. ‘Visions of the North’ will seek to bring new insights to the significance and impact of Germanic art in shaping interests, innovations and appropriations central to important public and private collections in Britain and the Low Countries. It will explore changing definitions and meanings of early ‘Germanic’ art, its reception in writings, collections, visual and design practices, and it will ask how responses to Germanic art shaped ideas of Victorian modernity and redefined narratives of ‘national’ character, nation-hood and the cosmopolitan.
The fine collections of Northern Renaissance art at Compton Verney Museum, built up in the late twentieth century, will provide enhanced contexts for the conference themes as well as raise issues about the encounter of nineteenth-century British and continental European collectors, writers and artists with objects from the Germanic ‘North’. Many of these works were dismantled and displaced in post-Reformation Europe, so no longer formed part of complex, intricate multi-part structures. Many were highly emotive and subjective in nature, thus not of immediate appeal to Victorian audiences. The conference will develop fresh knowledge about collections of German and Netherlandish art (whether paintings, drawings, prints, sculptures or the decorative arts); about the reception and transformation of such art in British and in their mirroring Belgian/Low Countries contexts; and about the revival of interest in, and engagement with, the medieval and early Renaissance religious and cultural legacies of Northern Europe. In these ways, the conference seeks to stimulate deeper understanding of how and why cultural and aesthetic processes, practices and values associated with the art of the Germanic North become implicated in new visions and identities in British and neighbouring Low Countries contexts in the long nineteenth century.

We are pleased to invite proposals for papers addressing nineteenth-century Britain/the Low Countries, especially Belgium, that focus on (but are not limited to) the following indicative areas:
·         Historiographies of Germanic art revivals, renaissances and reinventions;
·         Identities/geographies/meanings of ‘Netherlandish’ and ‘Germanic’ art;
·         Taste, beauty and Northern Renaissance art;
·         The impact of Germanic art, philosophy and German Romanticism;
·         Religion, history, and the Germanic North in narratives of modernity;
·         Private/public collecting of early Germanic works;
·         Netherlandish and Germanic prints and the print trade;
·         Germanic art travel, cosmopolitanism and art writing in Britain and the Low Countries;
·         The role of Germanic art in cultural tourism and art markets;
·         Artists’ responses to Germanic art;
·         Germanic art in ‘national’ collections/discourses;
·         Reframing Catholic/Protestant identities of Germanic Renaissance visual cultures;  
·         Portraits and the early Germanic North: identities of ‘national’ character and mood;
·         Pre-Raphaelites and early Germanic art;
·         Northern interiors: displays, interiors, homes;
·         Staging/photographing the visual cultures of the Germanic North;
·         Northern fakes, forgeries: reinventing/performing ideas of visual and material inheritance and taste;
·         Translating the North; writing the North
·         Reinventing ideas of a Germanic North in industry, craft and design;
·         Reimagining/Imaging/Re-writing the Northern Gothic city in art, design and literary reception

Abstracts of 250-300 words (maximum) titled ‘Visions of the North’ should be sent to: juliet.simpson@coventry.ac.uk by Friday 29th January 2016.
Please send abstracts in .doc, .docx, or .pdf format.
Please include the following details with your abstract:  name and surname, affiliation, contact e-mail address and short biography

Organizing Committee:

Prof. Juliet Simpson, Coventry University, UK
Dr Jeanne Nuechterlein, University of York, UK
Dr Susanna Avery-Quash, The National Gallery, London
Dr Marjan Sterckx, Ghent University, Belgium

Proposals will be selected by peer-review and there will be a publication based on the conference papers.




This conference is generously supported by

                                

dinsdag 17 november 2015

Vacature Doctor-assistent

Doctor Assistent (100%) voor het project (Re)Setting the Agenda of History and Theory for (Interior)Architecture and Urbanism

(Ref. AAP-2015-299)

Tewerkstelling : Voltijds
Duur : Bepaalde duur
Plaats : Brussel/Gent
Solliciteren tot en met : 31/12/2015

De Groep Wetenschap & Technologie, Departement Architectuur, Onderzoekseenheid Architectuur en Maatschappij van de KU Leuven zoekt enthousiaste, creatieve en communicatievaardige Post-Doc onderzoeker (100%) voor het 2-jarige project '(Re)Setting the Agenda of History and Theory for (Interior)Architecture and Urbanism' .

Doctor Assistent (100%) voor het project (Re)Setting the Agenda of History and Theory for (Interior)Architecture and Urbanism

Het onderzoeksproject wordt omkaderd door de Onderzoekseenheid Architectuur en Maatschappij (hoofd: Prof. dr. Rajesh Heynickx).

Het Departement Architectuur is verantwoordelijk voor het onderzoek rond architectuur, interieurarchitectuur, stedenbouw en ruimtelijke ordening dat verricht wordt in de Faculteit Ingenieurswetenschappen (campus Leuven) en in de Faculteit Architectuur (campus Brussel en Gent). Het departement fungeert als internationaal expertisecentrum in deze domeinen en telt een zestigtal internationale doctorandi. URL: www.architectuur.kuleuven.be


De Faculteit Architectuur groepeert de academische architectuuropleidingen (interieurarchitectuur, architectuur, Architecture, stedenbouw en ruimtelijke planning) van de campussen Sint-Lucas Brussel/Gent. De faculteit is verantwoordelijk voor de onderwijsgebonden materies. URL:www.arch.kuleuven.be 

Functie

Als post-doc assistent voer je het project '(Re)Setting the Agenda of History and Theory for (Interior)Architecture and Urbanism' uit dat moet leiden tot een seminar/conferentie waar een wetenschappelijke discussie wordt gevoerd met internationale participanten rond het thema. Deze conferentie resulteert in een themanummer van een IT-journal of een boekpublicatie bij een internationale uitgever. Deze output moet de basis vormen voor verschillende toekomstige projectaanvragen. 
Over het project: '(Re)Setting the Agenda of History and Theory for (Interior)Architecture and Urbanism'. In de laatste twee decennia hebben de meeste departementen architectuur in Europa het aandeel 'History & Theory' (H&T) continu uitgebouwd. Veel energie werd geïnvesteerd in het uitwerken van instrumenten (readers, heruitgaves), contactmomenten (doctoral programmes en conferences) en platforms (boekenreeksen, tentoonstellingen en tijdschriften). Daarnaast was er een levendige dialoog met innovatieve tendensen in het veld van de architectuur (zoals Research by Design) en andere disciplines (culturele studies, mediawetenschap, ...). Door deze continue methodologische en thematische expansie kwam er wel een consolidatie, maar is ook de focus zoekgeraakt. Er ligt daardoor een uitdaging in het herdenken van de rol en inhoud van H&T op een Europees niveau. Dit zal gebeuren door vanuit de onderzoekseenheid Architectuur en Maatschappij een reeks deelthemata (architectuur en intellectuele geschiedenis, theorie van het interieur, stedelijkheid, ...) te ontwikkelen. 
Je ondersteunt het hoofd van de onderzoekseenheid Architectuur en Maatschappij. 
Je ondersteunt het onderwijs in de doctoraatsopleidingen Architectuur.

Profiel


  • Je beschikt over een doctoraat met een affiniteit met (kunst)historiografie en/of theorievorming in de (Interieur)Architectuur/Stedenbouw.
  • Je hebt een duidelijke interesse en expertise in het onderwerp op basis van je opleiding, werk- of onderzoekservaring.
  • Je bent in staat om zowel zelfstandig als in een multidisciplinair team te werken;
  • Je communiceert vloeiend in het Engels en hebt excellente communicatievaardigheden, zowel mondeling als schriftelijk, bij voorkeur ook in het Nederlands.

Aanbod

Wij bieden een voltijdse (100%) tewerkstelling voor 2 jaar als dr. assistent in een creatieve werkomgeving, een dynamisch team en met uitdagende opdrachten.

Interesse?

Meer informatie is te verkrijgen bij prof. dr. Rajesh Heynickx, hoofd Onderzoekseenheid Architectuur en Maatschappij, tel.: +32 2 242 00 00, mail:rajesh.heynickx@kuleuven.be of prof. dr. ir. Yves Schoonjans, vicedepartementsvoorzitter Departement Architectuur , tel.: +32 9 225 10 00, mail: yves.schoonjans@kuleuven.be.

Solliciteren voor deze vacature kan tot en met 31/12/2015 via onze 
 

woensdag 11 november 2015

ERIK HAZELHOFF JONG TALENTPRIJS 2016
WIN € 5.000 & EEN AUTEURSCONTRACT MET JE SCRIPTIE

Masterscripties gezocht!

In 2016 wordt voor de 4e maal de Erik Hazelho Jong Talentprijs uitgereikt.
Daarom zijn we op zoek naar goed geschreven scripties met een interessant
onderwerp die we graag in boekvorm in de winkel zouden willen zien.
De prijs bestaat uit € 5.000 en een auteurscontract bij uitgeverij Unieboek|Het Spectrum, die de scriptie in boekvorm op de markt zal brengen.

Wie wordt de opvolger van Esther Zwinkels (Universiteit Leiden – 2010), Boyd
van Dijk (UvA – 2012) en Wiebe de Graaf (RU Groningen – 2014)?
Studenten die in 2014 of 2015 zijn afgestudeerd (in Nederland of België) komen
voor de prijs in aanmerking. De onderwerpen kunnen variëren van geschiedenis tot literatuur en van filosofie tot politieke of sociale kwesties.

Inzenden kan nog tot 15 januari 2016!
Meer informatie:
www.erikhazelho prijs.nl

woensdag 21 oktober 2015

Vacature Praktijkassistent (30%) 19de-20ste eeuw

De vakgroep Kunst-, Muziek- en Theaterwetenschappen van de UGent zoekt een deeltijds praktijkassistent (30%) ter ondersteuning van enkele vakken m.b.t. de 19de- en 20ste-eeuwse kunst. Alle info hier.

maandag 19 oktober 2015

Najaarslezingen 2015 in het Groeningemuseum ihkv "Mythische Primitieven"

Najaarlezingen 2015
van het Vlaams onderzoekscentrum voor de kunst in de Bourgondische Nederlanden
Alle lezingen gaan door in de Vriendenzaal van het Groeningemuseum op donderdag om 15 uur en zijn gratis. De lezingen van 08.10 en 26.11 zijn in het Nederlands, de lezing van 17.12 is in het Engels.



08.10.2015: Till-Holger Borchert
Directeur, Musea Brugge
De herontdekking van de Vlaamse Primitieven en het ontstaan van de kunstmusea

26.11.2015: Stefan Huygebaert
PhD Student (BelSPo IAP Justice & populations), UGent Institute for Legal History
Een evidente keuze? De middeleeuwen en haar primitieven als thematiek van de Brugse romantische schilderkunst
De Belgische romantische schilderkunst werd rond 1830 gekenmerkt door een thematische voorkeur voor het nationale verleden, niet het minst voor de helden van de nationale kunstgeschiedenis. Veel van deze ‘mythische primitieven’, zoals Van Eyck, Memling en David, waren in Brugge actief, en de Brugse Academie voor Schone Kunsten bewaarde enkele van hun belangrijkste paneelschilderijen. Daarnaast was Brugge de stad waar de architecturale neogotiek niet alleen haar eerste, maar ook haar meest omvangrijke uitwerking zou kennen.
In deze lezing staat de vraag centraal hoe en in welke mate de vooraanstaande Brugse romantische schilders en hun academie de lokale middeleeuwen en hun primitieven een plaats gaven in hun werken en denken.

17.12.2015: Jenny Graham
Associate Professor in Art History, University of Plymouth
Mythical Primitives: Imagining the Past in Nineteenth-Century Bruges
Bruges and Flanders played a significant role in the Gothic revival taking place across Europe in the nineteenth century.  French painters including Courbet, Toulouse-Lautrec and Gauguin, and the English Pre-Raphaelite artists Dante Gabriel Rossetti, William Morris and Edward Burne-Jones made pilgrimages to Bruges to see works by Jan van Eyck and Hans Memling made famous by new trends in art tourism.  Closer to home, a new Flemish movement in art and literature flourished as it looked back to the gilded age of the fifteenth century, re-imagining the glory days of Van Eyck and Memling in word and image in the nostalgic atmosphere of nineteenth-century Bruges.  In this talk, art historian Jenny Graham (author of Inventing Van Eyck: The Remaking of an Artist for the Modern Age, Oxford and New York, 2007) will explore the cultural history of Bruges’s own relationship with its past as the city negotiated its way into the modern era. 

donderdag 1 oktober 2015

Gastlezing Petra Chu @ UGent, 9 nov.

Op ma. 9 nov. om 20u zal prof. dr. Petra ten-Doesschate Chu (Seton Hall University, New Jersey) aan de UGent een gastcollege geven over kunst in het laat-19de-eeuwse interieur, "Marketing for the aesthetic home. Pictures in the house during the aesthetic movement​", i.h.k.v. het vak 'Geschiedenis van het Interieur en de Kunstnijverheid' (2de en 3de bachelor Kunstwetenschappen, prof. M. Sterckx).

De lezing (ca. 1u), in het Engels, is gratis en staat ook open voor andere geïnteresseerden. Allen welkom!
Locatie: UGent, Faculteit Letteren en Wijsbegeerte, Blandijnberg, aud. C (gelijkvloers).

woensdag 23 september 2015

CFP ESNA conference 2016: City of Sin: Representing the Urban Underbelly in the Nineteenth Century

ESNA Congress 2016
City of Sin: Representing the Urban Underbelly in the Nineteenth Century
Amsterdam, Rijksmuseum and Van Gogh Museum
19-20 May 2016




The pageant of fashionable life and the thousands of floating existences - criminals and kept women - which drift about in the underworld of a great city […] all prove to us that we have only to open our eyes to recognize our heroism […]. The life of our city is rich in poetic and marvelous subjects. – Charles Baudelaire, Salon of 1846



In the spring of 2016 Amsterdam will host two major exhibitions: Easy Virtue: Prostitution in French Art, 1850-1910 (Van Gogh Museum, previously Musée d’Orsay) and Girls in Kimono: The Breitner Variations (Rijksmuseum). Both exhibitions explore the depiction of women in the margins of urban life – the prostitute, the model, working (class) women, and the women of the entertainment industry. In cooperation with the two museums, ESNA (European Society for Nineteenth-Century Art) will take this occasion to organize its annual two-day international conference around the topic of the “urban underbelly” and its depiction in nineteenth-century art. The conference seeks to broaden the perspective of the two exhibitions by inviting papers that deal with urban marginality in the widest sense.

The conference takes as its motto Baudelaire’s 1846 call to artists to open their eyes to the darker side of nineteenth-century metropolitan life, not usually a topic of serious art historical study. In this sense, the conference aims to form a countercanon that will provide a fuller picture of the “painting of modern life”. Rather than the daylight scenes featuring the typical flâneur so well known to the broader public, the conference will focus on the depiction of things that occur in the shadows. Topics to be explored may include, but are certainly not limited to: crime and punishment; criminals and their pursuers; gambling and other clandestine activities; female and male prostitutes; alcoholics and drug addicts; hobos and bohemians; the homeless and those who care for them; the (working) urban poor and the unemployed; the insane and the hysterical; the ill and the dying; the gay community, dandies, cross-dressers and transgenders avant-la-lettre; and practitioners and practices considered sexually morally deviant. Contributions may deal with images in any medium, created in any urban center and at any time during the (long) nineteenth century (we especially welcome papers focusing on the early nineteenthcentury).
Please send proposals (max. 300 words) for a 20-minute paper (in English) for this conference to esnaonline@hotmail.com by 18 December 2015 at the latest. Selected speakers will be contacted in the course of January 2016.

Organizing committee: Rachel Esner (University of Amsterdam) and Jenny Reynaerts (Rijksmuseum Amsterdam); Lisa Smit (Van Gogh Museum Amsterdam)

Scientific committee: Nienke Bakker (Van Gogh Museum Amsterdam); Richard Thomson (University of Edinburgh); Marjan Sterckx (Ghent University); Rachel Esner (University of Amsterdam); Jenny Reynaerts (Rijksmuseum Amsterdam); Jan Dirk Baetens (Rijksuniversiteit Nijnmegen); Mayken Jonkman (RKD); Maite van Dijk (Van Gogh Museum)

http://www.esnaonline.wordpress.com

dinsdag 1 september 2015

CFP: Negotiating art ǀ Dealers and museums 1855-2015 1-2 April 2016

Deadline for submissions: 18 September 2015

This two-day conference on the relations between art dealers and museums, organised by the National Gallery in collaboration with the University of Manchester and the University of Liverpool, will be held at the National Gallery, London.

This joint conference, which has its origins in the acquisition of the Thos. Agnew & Sons archive by the National Gallery, aims to explore the relationship between art dealers and museums, in the UK and worldwide, and across a wide chronological period. Although there will be a focus on the London and British art market in the late 19th century, we wish to include papers that span the period 1855-2015 and across a range of geographical areas, in order to establish connections and assess contrasts between places and periods.

Many fundamental topics are implicated by the subject of this conference. For example, the relationship between consumption and culture; the creation, separation and ethical remits of professional specialisms; the nature and role of art institutions; and the multifaceted – and conflicting – roles of art collecting. We have singled out four key themes, which we envisage will comprise discrete conference sessions, and we invite paper proposals that engage with some aspect of them:


Mechanics of the relationship: How did the relationships between dealers and art museums work? Were these business relationships, advisory roles, or both? Which sources can we use to establish such relationships? Can quantitative evidence like pricing be used to illuminate these relationships further? Can any shifts in these dynamics be identified or measured over a geographical or chronological range?


Biographies: Who were/are the main dealers associated with art museums? Can the personal and institutional biographies of specific dealers, agents, curators and other associated players assist in the reconstruction of the dealer-museum relationship, either in the historical or contemporary domains?
Collaboration and conflict: How close was/is the relationship between various dealers and art museums? To what extent can these relationships be construed as successful or otherwise? Are there examples of conflict, such as failed deals, arguments over pricing or the breakdown of relationships?
How were successful cases, such as acquisitions mediated by dealers, negotiated? What happens when dealers are in competition with each other? And what happens when museums are in competition with each other?


Works: How can case studies of single artworks or groups of pieces help us to understand better the model of dealer-museum interaction? How do the previous histories of works, their provenance, and the manner of their acquisition (e.g. private treaty or auction sale) affect their afterlife in the museum?


How to submit
Papers should be a maximum of 20 minutes in length, and preference will be given to proposals which stimulate dialogue and engage with broader topics. Please send enquiries and proposals of no more than 300 words, indicating which session your paper relates to, by 18 September 2015, to research.centre@ng-london.org.uk (marked for the attention of Alan Crookham).

vrijdag 21 augustus 2015

CFP Ghent Feb. 2016: Sculpting abroad. International mobility of nineteenth-century sculptors and their work.

Ghent, 26-27 February 2016.
Deadline proposal: 1 October 2015

Sculpting abroad. International mobility of nineteenth-century sculptors and their work.

Organized by the Department of Art History, Ghent University, and the Department of History, KULeuven Campus Kortrijk.
In collaboration with the Museum of Fine Arts, Ghent, ESNA (European Society of Nineteenth-Century Art) and research platform XIX

Keynote presentations by Antoinette Le Normand-Romain (INHA, Paris) and Sura Levine (Hampshire College, Amherst, Massachusetts)

In 1870, the Franco-Prussian War drove the young Auguste Rodin and his master Albert-Ernest Carrier-Belleuse to Belgium, where they both acquired some public commissions despite objections against their French nationality. Even though war was perhaps one of the most radical reasons driving sculptors beyond the borders of their own nation, the mentioned transnational trajectories of both Rodin and Carrier-Belleuse were by no means isolated or coincidental incidents. The study of old and new collections of art, as well as the studios of renowned masters in Paris or Rome attracted many aspiring sculptors to the old and new artistic capitals of Europe. Alternative art markets, commissions or exhibition opportunities activated many sculptors to pursue a career abroad, despite of the difficulties their foreignness, and their bulky discipline in a foreign country might have implied. Additionally, sculptors were, probably even more so than painters, dependent on commissions, and therefore often obliged to travel to provide for their revenues. The presence of foreign sculptors on large construction sites, or their involvement in prestigious public commissions, however, often led to hostilities by native colleagues, who feared for their positions and possibilities, when confronted with skilled foreign competition.  

During this two-day symposium, speakers are invited to reflect upon the subject matter of the transnational mobility of sculptors and the implications for these artists and their art during the long nineteenth century. In the course of this century, the creation of nation-states coincided with an increasing international focus by artists, their commissioners, sellers, buyers and critics. The impact of a sculptor’s nationality on his reception and ‘imaging’, as well as their mobility across borders remain ambiguous. Sculptors were regularly encouraged to study abroad, and recognized for their experience and success beyond the borders of the own nation. Simultaneously, however, they were often expected to represent the nation, and showcase the own ‘national school’ with its peculiar properties, and extending from the own national tradition.

This conference aims to address the role of art criticism, the art market, exhibitions, education, commissions etc. for sculptors in an international context, and the implications for their (inter)national or local identity. Participants are invited to reflect on the theoretical and/or practical implications of (trans)nationality, travel and cultural mobility on nineteenth-century sculptors and their work.

Papers may include but are not limited to the following topics:
-          Transnational exchange (both between centres and peripheries), internationalism of sculptors and their work.
-          Travel and mobility of sculptors and sculptures.
-          Nationality, nationalism,  and the development of nationhood in relation to the development of sculpture.
-          Prejudice, or even rejection, due to a sculptor’s foreign nationality.
-          Transnational friendships between sculptors, or hostilities because of their nationality
-          National or international appeal of public commissions and competitions announced abroad.
-          The impact of foreign experience and recognition on the national reputation and ‘imaging’ of a sculptor.
-          Discussion and reviewing of foreign sculptors and ‘sculpture schools’ in foreign, national and local press.
-          The ambiguous, sometimes opportunistic attitudes of sculptors in league of commissions and recognition towards their own nationality.
-          The construction of ‘national schools’ in sculpture in relation to a local/national/international tradition.
-          Comparisons of different ‘national sculpture schools’, and the question whether it is possible to distinguish a national style for sculpture in the first place.
-          Mechanisms of international influencing in nineteenth-century sculpture.
-      Identity and ‘national schools’ and the arts, notably sculpture.
-          Commercial or artistic drivers of mobility for sculptors.
-          Movement at meta/macro/micro levels of both sculptors and sculptures.
-          Artistic practice vs. theory in sculpture.
-          Gender and mobility in the practice of sculpture.

We invite proposals for papers of 20 minute duration. Please send a 300 word abstract and a brief biographical statement (max 150 words) attached in PDF to sculpture.conference@ugent.be by no later than October, 1, 2015.

This symposium originates from the research project “In search of a national (s)cul(p)ture. Belgian sculptors abroad and foreign sculptors in Belgium”, funded by BOF, Ghent University.

   

donderdag 20 augustus 2015

Vacature Traineeship Negentiende-eeuwse Schilderkunst

Het RKD - Nederlands Instituut voor Kunstgeschiedenis geniet internationale bekendheid als wetenschappelijk documentatie- en kennisinstituut op het gebied van de westerse beeldende kunst vanaf de late middeleeuwen tot heden met een bijzondere aandacht voor Nederlandse kunst in internationale context. Het RKD stelt zich ten doel om kunsthistorische kennis en informatie wereldwijd beschikbaar te stellen. 

Voor de afdeling Collecties & Onderzoek zoekt het RKD een: 

trainee negentiende-eeuwse schilderkunst (M/V) 
(18 uur per week) 

Tot de kerntaken van de afdeling Collecties & Onderzoek behoren het (digitaal) ontsluiten, uitbreiden en beheren van de collectie beelddocumentatie en het verrichten van wetenschappelijk onderzoek, vooral in RKD-projecten en in samenwerkingsprojecten met externe partners. 

Taken: 
- Werkt mee aan beheer, vorming en wetenschappelijke ontsluiting van de collecties, mede middels de databases van het RKD; 
- Herkomst- en tentoonstellingsonderzoek voor en algemene bijdrage aan het project Levende Meesters – het Gezicht van de Negentiende Eeuw; 
- Digitale ontsluiting negentiende- en twintigste-eeuwse kunst- en verfhandeletiketten; 
- Algemene assistentie bij het project ‘Retour de Paris’ (http://website.rkd.nl/Projecten/retour-de-paris.-kunstzinnige-uitwisselingen-tussen-nederland-en-frankrijk-in-de-negentiende-eeuw).

Profiel/Functie-eisen: 
- Jonge kunsthistoricus met een afgeronde universitaire studie, met als specialisatie negentiende-eeuwse schilderkunst; 
- Affiniteit met het werken met databases en digitaliseringsprocessen; 
- Collegiale persoonlijkheid en een inspirerende teamspeler; uitstekende communicatieve eigenschappen en organisatorische kwaliteiten; 
- Uitstekende mondelinge en schriftelijke uitdrukkingsvaardigheden in het Nederlands en Engels. 

Arbeidsvoorwaarden: 
De aanstelling vindt plaats bij het RKD volgens de Museum CAO, voor 18 uur per week, voor een periode van 1 jaar, met zicht op verlenging voor een jaar (per 2016). Deze functie is uitdrukkelijk bedoeld voor een jonge getalenteerde kunsthistoricus om twee jaar lang ervaring op te kunnen doen binnen de museumwereld en zal onherroepelijk na twee jaar eindigen. 

Inschaling vindt plaats in schaal 7-8 Museum CAO, afhankelijk van opleiding en ervaring. 
Bij volledig dienstverband (36 uur) bedraagt dit minimaal € 2.223,- tot maximaal € 3.046,- bruto per maand, exclusief 8% vakantietoeslag en 2,75% eindejaaruitkering. Overige arbeidsvoorwaarden zijn conform Museum CAO. 

Indiensttreding per 1 oktober 2015. 

Reacties: 
Je kunt je beknopte sollicitatiebrief vergezeld van CV tot uiterlijk 31 augustus 2015, uitsluitend per e-mail, richten aan: pz@rkd.nl, o.v.v. Vacature trainee negentiende-eeuwse schilderkunst. 

Voor nadere informatie: 
Mr. drs. Mayken Jonkman, conservator negentiende-eeuwse kunst, T 070-3339758, jonkman@rkd.nl 
Drs. Ton Geerts, hoofd beeldende kunst vanaf 1750, T 070-3339754,geerts@rkd.nl 


Deze functie is mede mogelijk gemaakt door NWO, Nederlandse organisatie voor Wetenschappelijk Onderzoek – Geesteswetenschappen. 

http://website.rkd.nl/archief/nieuwsarchief/vacature-trainee-negentiende-eeuwse-schilderkunst

woensdag 19 augustus 2015

Call for Papers: 'Tracing Types: Comparative Analysis of Literary and Visual Sketches (1830 - 1860)'

We welcome presentations for the international conference 'Comparative Analysis of Literary and Visual Sketches (1830 - 1860)' on June 3 and 4, 2016. Please submit abstracts (300 words in English or French) by October 1, 2015.

In the wake of the pioneering work of Nathalie Preiss and Martina Lauster, a new wave of scholarship has emerged in recent years, which examines nineteenth-century sketches (sometimes referred to as "panoramic literature) from a transnational perspective.

"Two recent examples of this interest are the special issue of Interférences littéraires, "Croqués par eux-mêmes. La société à l'épreuve du panoramique" (2012), directed by Nathalie Preiss and Valérie Stiénon, and the recent NYU conference "Dissecting Society: Periodical Literature and Social Observation (1830-1850)" (March 2015), organized by Christiane Schwab and Ana Peñas Ruiz.

The present call for papers seeks to continue this comparative reflection by placing the spotlight on the comparative analysis of texts and images of specific types and by tracing how these representations vary across sketches from different places, media and editorial contexts.

We welcome presentations that address the following types of questions:
  • How do the representations and definitions of a type (or group of related types) vary from one national context to another?
  • How do different collections, periodicals or editorial contexts inflect a type in different ways?
  • How do visual representations of a type differ from one another or from literary representations of the same figure?
  • How does the type transform as it is taken up in other genres, registers or types of discourse?
  • Does the type exist in a system? Does it belong to a collection or series of types and if so, how does it relate to or interact with other types in the system? How do different collections position the type within their systems? 
In short, we invite each participant to choose a type (or group of related types) and to trace how it shifts or remains the same across different contexts and in relation to different co-texts. Presentations that explore less known types are particularly welcome. 
The longterm goal of this project is to publish an edited volume exploring these issues. It is our hope that the combined insights of the seminar will allow us to draw a series of general reflections about how portrayals of types shift across contexts, borders and media. 
We would like to invite expressions of interest in the form of a short abstract (of around 300 words in English or French) describing your idea. Please submit your idea to Leonoor Kuijk at l.kuijk@ugent.be by October 1, 2015.

Organizers: Leonoor Kuijk, Elizabeth Amann and Marianne Van Remoortel (Ghent University), Valérie Stiénon (Université Paris 13)
http://www.tracingtypes.ugent.be/