{"id":573,"date":"2018-02-09T16:31:27","date_gmt":"2018-02-09T15:31:27","guid":{"rendered":"http:\/\/reframedimage.uw.edu.pl\/?page_id=573"},"modified":"2018-07-25T15:23:49","modified_gmt":"2018-07-25T13:23:49","slug":"conference-2018","status":"publish","type":"page","link":"http:\/\/reframedimage.uw.edu.pl\/en\/conference-2018\/","title":{"rendered":"Conference 2018"},"content":{"rendered":"

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CONFERENCE PROGRAM PDF<\/a><\/span><\/strong><\/span>
\nABSTRACT BOOK PDF<\/a><\/span><\/strong><\/span><\/p>\n

\n

MULTIPLIED AND MODIFIED
\n<\/span><\/em><\/span>Reception of the Printed Image in the Fifteenth and Sixteenth Centuries<\/span><\/em><\/p>\n

International conference\u00a028-29 June 2018
\n<\/span><\/span>University of Warsaw and the National Museum in Warsaw<\/span><\/span><\/p>\n

The production of printed image consists of a multiplication of a particular design, whereas the consumption and reception of single impressions often involve various modifications. Multiple, but virtually identical woodcuts or engravings reproduce and thus disseminate the original composition, while at the same time they have lives of their own. They have been placed in various contexts, coloured, trimmed, framed, pasted into books and onto other objects. The place of prints in both visual and material culture of the fifteenth and sixteenth centuries is a continuously growing field in recent scholarship. However, these studies usually focus on the most prominent centres of production situated in Italy, the Low Countries, France and the Empire. The principal aim of the conference Multiplied and Modified. Reception of the Printed Image in the Fifteenth and Sixteenth Centuries<\/em> is to contribute to the research on the beginning and early development of the graphic arts from the perspective of the beholder, while broadening geographically the field of inquiry, i.e. by shifting the emphasis to the regions of Central Europe, the British Isles, the Iberian Peninsula, Dalmatia, as well as considering the reception of the European prints on other continents.<\/span><\/p>\n

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THURSDAY, 28 JUNE 2018<\/span><\/strong><\/span><\/p>\n

venue: National Museum in Warsaw, Cinema MUZ
\nAleje Jerozolimskie 3<\/a><\/span><\/p>\n

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9.00 \u2013 9.30\u2003\u2003Registration<\/span><\/p>\n

9.30 \u2013 10.00\u2003\u2003Welcome and introduction<\/span><\/p>\n

\u261e\u200210.00 \u2013 11.00\u2003\u2003Keynote Lecture<\/span><\/p>\n

Jean Michel Massing (King’s College, Cambridge):
\n<\/span>Prints and the Beginnings of Global Imagery
\n<\/strong>(chair: Gra\u017cyna Jurkowlaniec)<\/span><\/p>\n

Coffee<\/span><\/p>\n

11.15 \u2013 12.45\u2003\u2003I: PRODUCTION AND RECEPTION <\/strong>(chair: Ilja M. Veldman)<\/span><\/p>\n

Yvonne Bleyerveld (RDK \u2013 The Netherlands Institute for Art History, The Hague):
\nThe Print Series by the Early Sixteenth-century Amsterdam Printmaker Jacob Cornelisz van Oostsanen and the Print Publisher Doen Pietersz. An Innovative Product of the Early Sixteenth-century Art Market<\/strong><\/span><\/p>\n

Giuseppe Capriotti (University of Macerata):
\nEroticism under a Watchful Eye. Censorship and Alteration of Xylographs in Ovid\u2019s Metamorphoses between the Fifteenth and the Sixteenth Centuries<\/strong><\/span><\/p>\n

Karolina Mroziewicz (Jagiellonian University, Cracow):
\nLimitations of the Reception and Consumption of Illustrations to \u2018Chronica Polonorum\u2019 (Cracow 1521)<\/strong><\/span><\/p>\n

Lunch<\/span><\/p>\n

14.00 \u2013 15.30\u2003\u2003II: GAMES AND ORNAMENTS<\/strong>\u00a0(chair: Marcin Bogusz)<\/span><\/p>\n

Loretta Vandi (Scuola del Libro, Urbino):
\nPlaying with Destiny: Two Newly Discovered Fifteenth-century Popular Uncut Woodblock Cards from Florence and Urbino<\/strong><\/span><\/p>\n

James Wehn (Case Western Reserve University, Cleveland):
\nCultivating Designs: Early Ornamental Prints and Creative Reproduction<\/strong><\/span><\/p>\n

Femke Speelberg (The Metropolitan Museum of Art, New York):
\nA Foreign Affair: Thomas Gemini and his Booklet of Moresque Designs<\/strong><\/span><\/p>\n

Coffee<\/span><\/p>\n

16.00 \u2013 17.30\u2003\u2003III: MATRICES AND DESIGNS<\/strong> (chair: Marek P\u0142uciniczak)<\/span><\/p>\n

Ilaria Andreoli (L\u2019Institut des Textes et Manuscrits Modernes \u2013 Centre National de la Recherche Scientifique,\u00a0Paris;\u00a0Fondazione Giorgio Cini,\u00a0Venice):
\nThe \u2018Passio veneziana\u2019: from Sheet to Book to Wall<\/strong><\/span><\/p>\n

J\u00falia T\u00e1trai (Sz\u00e9pm\u0171v\u00e9szeti M\u00fazeum, Budapest):
\nThe Set of Four Elements by Hendrick Goltzius and the Use of the Engravings in the Seventeenth Century<\/strong><\/span><\/p>\n

Ma\u0142gorzata \u0141azicka (The Print Room of the University of Warsaw Library):
\nTradition and Innovation in Sebald Beham\u2019s \u2018Fortuna\u2019 and \u2018Infortunium\u2019<\/strong><\/span><\/p>\n

\n

FRIDAY, 29 JUNE 2018<\/span><\/strong><\/span><\/p>\n

venue: National Museum in Warsaw, Cinema MUZ
\nAleje Jerozolimskie 3<\/a><\/span><\/p>\n

\n

\u261e\u20029.00 \u2013 10.00\u2003\u2003Keynote Lecture<\/span><\/p>\n

Suzanne Karr Schmidt (The Newberry, Chicago):
\nMultiplicity and Absence: The Negative Evidence of Interactive Prints
\n<\/strong>(chair: Joanna Sikorska)<\/span><\/p>\n

Coffee<\/span><\/p>\n

10.15 \u2013 11.45\u2003\u2003IV: MANUSCRIPTS AND PRINTED BOOKS\u00a0<\/strong><\/span>(chair: Piotr Borusowski) <\/span><\/p>\n

Maureen Warren (Krannert Art Museum; University of Illinois at Urbana-Champaign):
\nPrint-assisted Paintings: Prints as Underdrawings in the Hardouyn Brothers’ Books of Hours <\/strong><\/span>
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\n<\/span>Olenka Horbatsch (The British Museum, London):
\nA \u2018Passion\u2019 for Prints: Netherlandish Engravings in an Early Sixteenth-century Prayer Book<\/strong><\/span><\/p>\n

Carolin Alff (Heidelberg University):
\n<\/strong><\/span>Drawn, Printed and Coloured: The Reception of Reproduced Figures in Sixteenth-Century Costume Books<\/strong><\/span><\/p>\n

Coffee<\/span><\/p>\n

12.00 \u2013 13.30\u2003\u2003V: SCIENCE AND KNOWLEDGE\u00a0<\/strong>(chair: Elizabeth Savage)<\/span><\/p>\n

Rafa\u0142 W\u00f3jcik (University Library, Adam Mickiewicz University, Pozna\u0144):
\nIconography of the Mnemonic Alphabets and Ciphers in the Printed Treatises on the Art of Memory from the Fifteenth and the Beginning of the Sixteenth Centuries<\/strong><\/span><\/p>\n

Jennifer Nelson (School of the Art Institute, Chicago):
\nPrinted Treatises, Private Lore: The 1558 Holzschuher Inheritance<\/strong><\/span><\/p>\n

D\u00e1niel Marg\u00f3csy (University of Cambridge):
\nVesalius Copied: Pictorially Repeatable Statements in Theory and Practice<\/strong><\/span><\/p>\n

Lunch<\/span><\/p>\n

14.30 \u2013 16.00\u2003\u2003VI: SPEAKING IMAGES AND SILENT IMAGES<\/strong>\u00a0(chair: Magdalena Herman) <\/span><\/p>\n

Alexandra Kocsis (University of Kent, Canterbury):
\nSpeaking Images and Speaking to the Images: Antonio Lafreri’s Religious Prints in Counter-Reformation Rome<\/strong><\/span><\/p>\n

Andr\u00e1s Handl (KU Leuven), Alexandra Ida M\u00fctel (University of Bonn):
\nA Glimpse into Eternity: The Reception and Transformation of the Bildmotette ‘Adoration of God’s Lamb’ by J. Winghe and J. Sadeler<\/strong><\/span><\/p>\n

Antoni Ziemba (University of Warsaw; National Museum in Warsaw):
\nSilent Prints \u2013 Silent Images<\/strong><\/span>
\n<\/span><\/p>\n

Closing remarks<\/span><\/p>\n

\n

 <\/p>\n

Should you need any further information, please do not hesitate to contact us <\/span><\/span>multipliedandmodified@uw.edu.pl<\/a><\/span><\/span><\/em><\/p>\n

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CFP PDF<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

CONFERENCE PROGRAM PDF ABSTRACT BOOK PDF MULTIPLIED AND MODIFIED Reception of the Printed Image in the Fifteenth and Sixteenth Centuries International conference\u00a028-29 June 2018 University of Warsaw and the National Museum in Warsaw The production of printed image consists of a multiplication of a particular design, whereas the consumption and reception of single impressions often … <\/p>\n

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