Danijela Zutic | McGill University (original) (raw)
Supervisors: Cecily Hilsdale
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Call for Papers by Danijela Zutic
Ontological questions as to what essentially is architecture, painting, sculpture, drawing, and p... more Ontological questions as to what essentially is architecture, painting, sculpture, drawing, and print elicited numerous answers in the early modern period, due in part to experimentation and development in technical, formal, and discursive practices during the Middle Ages. While building upon previous iconographic traditions and theological discourses on image making, medieval artists continuously obfuscated the divisions between the secular and the religious subject matter by borrowing forms and materials traditionally reserved for holy representations. This, in turn, encouraged new ways of thinking about artistic practices more generally – something that would become central to early modern theories on the rhetorical function of art and the role of the artist in society. Engaging with these ontological questions subsequently led to debates on the paragone and, ultimately, to the establishment of seventeenth-century art academies, with their hierarchical categorization of medium, subject, and form, organized into a practical and theoretical curriculum and supported by an ideological system of meaning and patronage.
In order to trace these historical developments, we invite papers that consider the practical and/or theoretical ways in which medieval and early modern artists blurred, played with, and resisted boundaries of medium, material, form, and subject matter.
For submission details and regulations please see attached document.
Papers by Danijela Zutic
Ontological questions as to what essentially is architecture, painting, sculpture, drawing, and p... more Ontological questions as to what essentially is architecture, painting, sculpture, drawing, and print elicited numerous answers in the early modern period, due in part to experimentation and development in technical, formal, and discursive practices during the Middle Ages. While building upon previous iconographic traditions and theological discourses on image making, medieval artists continuously obfuscated the divisions between the secular and the religious subject matter by borrowing forms and materials traditionally reserved for holy representations. This, in turn, encouraged new ways of thinking about artistic practices more generally – something that would become central to early modern theories on the rhetorical function of art and the role of the artist in society. Engaging with these ontological questions subsequently led to debates on the paragone and, ultimately, to the establishment of seventeenth-century art academies, with their hierarchical categorization of medium, subject, and form, organized into a practical and theoretical curriculum and supported by an ideological system of meaning and patronage.
In order to trace these historical developments, we invite papers that consider the practical and/or theoretical ways in which medieval and early modern artists blurred, played with, and resisted boundaries of medium, material, form, and subject matter.
For submission details and regulations please see attached document.