juli 2012 - Kunsthistorisches Institut in Florenz
juli 2012 - Kunsthistorisches Institut in Florenz
juli 2012 - Kunsthistorisches Institut in Florenz
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TAGUNGEN | STUDIENTAGE | WORKSHOPS | 19<br />
30.09.–02.10.2010<br />
Images at Work: Image and Efficacy from Antiquity to the Rise of Modernity<br />
International Conference<br />
Organisation: Ittai We<strong>in</strong>ryb, Ashley Jones, Hannah Baader und Gerhard Wolf<br />
Hannah Baader/Ittai We<strong>in</strong>ryb<br />
Beate Fricke<br />
Asley Jones<br />
Ana Debenedetti<br />
Tanja Klemm<br />
Lisa Pon<br />
Christopher Nygren<br />
Kar<strong>in</strong> Leonhard<br />
Christopher Wood<br />
Persis Berlekamp<br />
Elly Truitt<br />
F<strong>in</strong>barr Barry Flood<br />
Paroma Chatterjee<br />
Mauro Di Vito<br />
Images at Work: Pos<strong>in</strong>g Questions to Art Historians<br />
Bloodsta<strong>in</strong>ed<br />
Mak<strong>in</strong>g Amulets Work <strong>in</strong> Late Antiquity<br />
»quae sub luce videantur«: The Status of Images Between Magic and Art Theory<br />
»Spiritus« and »Virtutes«: What Renaissance Psychophysiology Can Tell Us About How Images Worked<br />
The Charged Matrix: Pr<strong>in</strong>tmak<strong>in</strong>g’s Productive Surfaces<br />
Manufactur<strong>in</strong>g the Miraculous <strong>in</strong> Sixteenth-Century Italian Pa<strong>in</strong>t<strong>in</strong>g<br />
Antidotism: Pa<strong>in</strong>t<strong>in</strong>g as »Pharmakon«<br />
Conclud<strong>in</strong>g Remarks<br />
Dragons at the Gates: Sympathy, Symmetry, and Sculpture Along the Thirteenth-Century Tigris<br />
What Do We Mean When We Talk About Medieval Automata<br />
Animal, Vegetal, and M<strong>in</strong>eral: Ambiguity and Efficacy <strong>in</strong> the Nishapur Wall-Pa<strong>in</strong>t<strong>in</strong>gs<br />
The Eagle and the Snake: Look<strong>in</strong>g at Sculpture with Nicetas Choniates<br />
The Talismanic Value of Verm<strong>in</strong> on the Doors of the Baptistry <strong>in</strong> Florence<br />
08.–09.10.2010<br />
Bild-Witz<br />
Workshop<br />
Organisation: Maddalena Spagnolo, Nicola Suthor und Gerhard Wolf<br />
Nicola Suthor<br />
Krist<strong>in</strong>e Patz<br />
Michael Hoff<br />
Ulrike Müller Hofstede<br />
Jacopa St<strong>in</strong>chelli<br />
Jeanette Zw<strong>in</strong>genberger<br />
Kar<strong>in</strong> Leonhard<br />
Al<strong>in</strong>a Payne<br />
Gudrun Swoboda<br />
Wolfram Pichler<br />
Sefy Hendler<br />
Maddalena Spagnolo<br />
Laura Fenelli<br />
Giorgio Masi<br />
Gerhard Wolf<br />
Paul Taylor<br />
Roberto Zapperi<br />
Massimiliano Rossi<br />
Floriana Conte<br />
Ulrike Kern<br />
E<strong>in</strong>führung: »Bild-Witz«<br />
Richtungswechsel. Zwischen Witz und Tragik im Werk von Andrea Mantegna<br />
Beiwerk bei Fra Bartolomeo<br />
Zwischen Sublimierung und Visualisierung: Zu Antonello da Mess<strong>in</strong>as Verkündigung <strong>in</strong> Palermo<br />
Carpaccio, Giorgione, Meister Franke neben anderen: e<strong>in</strong>ige Witz-Bilder des 15. Jahrhunderts<br />
Landschaft als Projektionsfläche des weiblichen Pr<strong>in</strong>zips: Eros und des männlichen: Thanatos<br />
Vom Wenden der Gewänder: Allegorie als Umkehrmasch<strong>in</strong>e<br />
Architecture and the lightness of be<strong>in</strong>g<br />
On be<strong>in</strong>g Velazquez’ son <strong>in</strong> law: Mazo’s family portrait and the question of pictorial <strong>in</strong>telligence<br />
Dissimilar images, witful jokes<br />
Bronz<strong>in</strong>o’s Nano Morgante: a bird hunter <strong>in</strong> the court of Cosimo I<br />
La doppia faccia dell’ironia: la critica d’arte come pretesto?<br />
Dall’ironia al sacrilegio: scherzare sulle immag<strong>in</strong>i di culto tra Tre e Quattrocento<br />
Critica militante e manesca: versi <strong>in</strong>editi fiorent<strong>in</strong>i sull’Ercole e Caco e sui »Visacci«<br />
Federico Zuccari<br />
Humour <strong>in</strong> Karel van Mander’s Schilder-Boeck<br />
Le postille di Annibale Carracci alle Vite di Vasari<br />
Pietro da Cortona: stucchi e versi per Santa Maria del Fiore<br />
Lepidezze, <strong>in</strong>vidia e denigrazione: <strong>in</strong>torno a Salvator Rosa pittore e poeta<br />
The heirs of Apelles and Protogones: A humorous artists’ competition <strong>in</strong> Dutch art literature<br />
03.–05.11.2010<br />
LINEA II – Tangents, <strong>in</strong>terlaces, knots, labyr<strong>in</strong>ths. Structure and mean<strong>in</strong>g of l<strong>in</strong>es from<br />
antiquity to the contemporary period<br />
International Conference<br />
Organisation: Marzia Faietti und Gerhard Wolf<br />
Marzia Faietti (Firenze)<br />
La Donna alla f<strong>in</strong>estra di Raffaello e l’Eva del Correggio. Dalla »scatola architettonica« all’»architettura<br />
dell’<strong>in</strong>f<strong>in</strong>ito«<br />
Jenifer Nì Ghrádaigh (Cork) Otherworldly gestur<strong>in</strong>g: understand<strong>in</strong>g l<strong>in</strong>ear complexity <strong>in</strong> early medieval Ireland<br />
Joanne Allen (Warwick)<br />
Wood knots: <strong>in</strong>terlac<strong>in</strong>g patterns <strong>in</strong> Italian Renaissance <strong>in</strong>tarsia choir stalls<br />
Julia Ann Schmidt (Firenze) Künstlerhaar und L<strong>in</strong>ienkunst um 1500<br />
Susanne Meurer (Firenze) Loops and Doodles: <strong>in</strong>terplays between pr<strong>in</strong>ted and drawn l<strong>in</strong>es <strong>in</strong> German art of the early sixteenth century<br />
M. Ludovica Rosati (Pisa) V<strong>in</strong>colo e libertà nell’<strong>in</strong>treccio delle l<strong>in</strong>ee: il caso dei tessuti operati<br />
Bret Rothste<strong>in</strong> (Bloom<strong>in</strong>gton, IN) Mapp<strong>in</strong>g the disrupted orthogonal <strong>in</strong> some mechanical puzzles<br />
Markus Dauss (Frankfurt) »The undulat<strong>in</strong>g l<strong>in</strong>e« versus »l<strong>in</strong>e and compass«. Mediale und semiotische Aspekte der L<strong>in</strong>ienästhetik <strong>in</strong><br />
der Theorie des Landschaftsgartens<br />
Wolfram Pichler (Wien)<br />
Torus-Variationen. Anmerkungen zum »corpo nato della prospettiva di Leonardo V<strong>in</strong>ci«<br />
Raimondo Sassi (Firenze) Percorsi l<strong>in</strong>eari e peregr<strong>in</strong>atio archeologica: i »Quaedam antiquitatum fragmenta« di Giovanni Marcanova<br />
Hana Gründler (Firenze)<br />
»E<strong>in</strong> Labyr<strong>in</strong>th von Wegen«. Sehen, Zeichnen und Denken bei Ludwig Wittgenste<strong>in</strong><br />
Eva Kernbauer (Bern)<br />
»Miles of str<strong>in</strong>g«: L<strong>in</strong>ie und Raum bei Eva Hesse<br />
Ilaria Rossi (Firenze)<br />
Strutture l<strong>in</strong>eari tra spiritualità e geometria negli astrattisti italiani degli anni Trenta e Quaranta<br />
Alessandra Acocella (Firenze) Spazi dedalici: i labir<strong>in</strong>ti di Robert Morris tra realtà ideale e realtà fisica<br />
Toni Hildebrandt (Basel)<br />
John Cage und William Anastsasi – Mythos und Ästhetik der »aleatorischen L<strong>in</strong>ie«<br />
Sab<strong>in</strong>e Ma<strong>in</strong>berger (Bonn) Über L<strong>in</strong>ien. Um 1900<br />
Marzia Faietti/Gerhard Wolf Conclusioni
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