juli 2012 - Kunsthistorisches Institut in Florenz

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Arbeitskreis QUELLEN UND Techniken 1300–1700 | Fonti e tecniche 1300–1700 Lektüreseminar/Kolloquium/Ortstermine in Kooperation mit der FU Berlin Organisation: Wolf-Dietrich Löhr LABOR | Arbeitskreis | 37 2010 Jahresthema »Florenz um 1400. Ende des Mittelalters oder Beginn der Renaissance?« 31.05.2010: Einführungstreffen | 07.06.2010: Cennino Cennini, Il Libro dell’arte, Kap. 1 | 30.06.2010: Franco Sacchetti, Trecentonovelle, Novelle LXIII; Novelle CXCI; Cennino Cennini, Il Libro dell’arte, Kapitel zur Zeichnung (2-28) | 09.07.2010: Santa Trinita, Cappella Bartolini- Salimbeni | 12.07.2010: Tagesexkursion nach Prato: Casa Datini; San Francesco, Datini-Grab, Cappella Migliorati; Dom, Cappella della Cintola (Agnolo Gaddi), Cappella dell‘Assunta (Uccello?), Cappella Maggiore (Filippo Lippi) | 31.07.2010: Tagesexkursion nach Pisa, organisiert von Linda Pisani; Museum des Palazzo Blu (pisanische Malerei um 1400); San Francesco, Kapitelsaal; Fresken von Niccolo‘ di Pietro Gerini und Taddeo di Bartolo; Museo di San Matteo (Pisa um 1400; Donatello, San Rossore, Camposanto, Trionfo della Morte, Sarkophage) | 02.08.2010: Giorgios Vasaris Viten Ghibertis und Filippo Lippis, präsentiert von Jana Graul und Birgit Witte | 16.08.2010: Antikenrezeption: Präsentation von Marion Heisterberg und Mandy Richter | 17.09.2010: Giorgio Vasaris Vita des Fra Angelico, präsentiert von Jana Graul; Besuch des Museo di San Marco, Fresken Fra Angelicos (Gast: Julian Gardner) | 23.–30.09.2010: Besichtigungen im Rahmen des Exkursionseminars: »Florenz um 1400. Ende des Mittelalters oder Beginn der Renaissance?« (FU Berlin, Bachelor) | 28.09.2010: »Die Erfindnung der Erfindung der Renaissance: Brunelleschis Perspektivtafeln«. Abenddiskussion im Rahmen des Exkursionsseminars »Florenz um 1400. Ende des Mittelalters oder Beginn der Renaissance?« | 08.11.2010: »Federfantasien. Parri Spinelli und die Zeichnung zu Beginn des 15. Jahrhunderts« (im Anschluss an die Tagung »Linea II«): Quellendiskussion (Cennini, L. B. Alberti, Vasari: Vita di Parri Spinelli) | 09.11.2010: »Federfantasien II«: Besuch der Biblioteca Medicea Laurenziana: Zeichnungen um Parri (?): Cod. Plut. 90 inf. 50, Cicero, de senectute; Misc. Segni 9-10 | 11.11.2010: »Federfantasien III«: Gabinetto Disegni e Stampe degli Uffizi: Zeichnungen von Lorenzo Monaco, Parri Spinelli, »Florentiner Musterbuch«, etc. 2011 Jahresthema »Figuren der Renaissance« 11.05.2011: Bild der Stadt: Lektüre der Stadtbeschreibung Goro Datis (um 1423); Rundgang Stadttore und Mauern von Florenz | 17.05.2012: Quellendiskussion: Filippo Villani, Künstlerviten; Boccaccio, Decameron 6, 5 | 31.05.2001: Schreibwerkstatt zur Dissertation, in Zusammenarbeit mit Jörn Steigerwald und Samuel Vitali | 10.06.2011: Besuch der Zeichnungsausstellung Figure, Memorie, Spazi, Gabinetto Disegni e Stampe degli Uffizi, Präsentation von Marion Heisterberg | 16.06.2011: Schreibwerkstatt zum wissenschaftlichen Aufsatz in Zusammenarbeit mit Jörn Steigerwald und Samuel Vitali | 12.07.2011: Schreibwerkstatt zu Exposé und Antrag in Zusammenarbeit mit Jörn Steigerwald und Samuel Vitali | 27.07.2011: Quellendiskussion: Künstlerviten Cristoforo Landinos und Antonio di Tuccio Manettis | 10.–17.09.2011: Besichtigungen im Rahmen des Exkursionsseminars »Figuren der Renaissance. Repräsentation und Historisierung im Stadtraum von Florenz (1400– 1500)« | 13.09.2011: »Florentiner Künstlergräber im Quattrocento« Diskussion im Rahmen des Exkursionsseminars »Figuren der Renaissance. Repräsentation und Historisierung im Stadtraum von Florenz (1400–1500)« | 28.09.2011: »Florentiner Künstlergräber im Quattrocento« (Teil 2) | 05.12.2011: Quellendiskussion als Überleitung zum Jahresthema 2012: »Zeuxis zwischen electio und esercizio (Cicero, Plinius, Abaelard, Boccaccio, Alberti)«. 2012 Jahresthema »Theorie und Terminologie des Bildes im Quattrocento« 12.03.2012: »Simulakren«. Filippino Lippis Zyklus der Strozzi Kapelle (Vortrag als Einführung in das Jahresthema) | 14.05.2012: Quellendiskussion: Isidor von Sevilla und Giovanni Boccaccio zur Malerei | 22.05.2012: Quellendiskussion: Bonaventura und Thomas von Aquin, Präsentation von Ruth Wolff | 12.06.2012: Quellendiskussion: Francesco Petrarca, De remediis Kapitel über die Malerei | 15.06.2012: Quellendiskussion: Programmentwürfe des 15. Jahrhundert: Leonardo Brunis Entwurf für die Paradiestüre, Marco Parentis Brief an Filippo Strozzi; Präsentation Fabian Jonietz | 29.6.2012: Quellendiskussion: »Die Rezeption von Giottos Navicella in frühen Text- und Bildquellen«, Präsentation von Marion Heisterberg | 02.07.2012: Besuch der Villa La Pietra (New York University), Besichtung der Acton-Sammlung und des Gartens (Führung: Francesco Baldry); Besichtigung der Sgraffito-Fragmente des 15. Jahrhunderts mit Andreas Huth | 03.07.2012: Workshop: »Bildarchitektur. Technologie und Rolle der Sgraffito-Fassade im Florentiner Quattrocento«; Itinerario: Sgraffito-Fassaden (Palazzo Nerini-Geroni; Palazzo Lapi, Palazzo Spinelli) | 10.7.2012: »Von der Goldschmiedekunst zum gedruckten Bild«: Besuch in der Goldschmiedewerkstatt des Paolo Penko, organisiert von Marion Heisterberg und Romana Filzmoser | 26.07.2012: Itinerario: Künstlerwerkstätten des 15. und 16. Jahrhundert, zusammen mit Anette Hoyer und Fabian Jonietz.
38 | WISSENSCHAFTLICHE VERANSTALTUNGEN STUDIENKURSE | SUMMER SCHOOLS 18.–26.09.2009 Concept and Organization Hannah Baader Avinoam Shalem Gerhard Wolf Experts Charles Burnett (Warburg Institute, London) Roberto Corneo (Università di Cagliari) Pisa and the Mediterranean Summer School During the Middle Ages, Pisa was one of the most important port cities of the Mediterranean, in permanent competition with Genoa and Venice. In fact, Pisan politics mingled religious, economic and military interests. The Maritime Republic had invaded Muslim Palermo in 1063, Mahdyia in 1087 as well as Jerusalem in the first crusade, had expelled the Muslims from the Balearic Islands (1113–115), captured Sardinia, but at almost the same time was also stipulating treatises, e.g. with the ruler of Tunis in 1157, and was apparently using the crusade to establish trading posts in the coastal cities of Syria, Lebanon and Palestine. It installed larger or smaller colonies in Antioch, Acre, Jaffa, Tripoli, Tyre, Joppa, Latakia, Jerusalem, Caesarea, Cairo, Alexandria and last but not least in Constantinople. An inscription on the cathedral façade declares that the building was made possible by the riches that the Pisans had looted during the course of the invasion of Palermo. Another inscription confirms that this sanctuary, being white like snow, is without a prototype. Stressing its pure whiteness, the inscription evokes a concept of renewal, typical of the second half of the 11 th century. In the following two centuries this concept stimulated not only the construction of the cathedral, but the whole ensemble of the famous Piazza dei Miracoli, made of light marble from the nearby Apuan Alps and designed on an extreme monumental scale. Situated at the North Western corner of the old town and enclosed on two of sides by the city wall, the Piazza dei Miracoli is one of the most extravagant sacred topographies in the Christian culture of the Middle Ages, beginning with the cathedral, followed by the baptistery (1152), the bell tower (1173) and finally concluded by the Campo Santo (begun in 1278, finished after 1350). Architectural and decorative forms as well as constructive aspects of the ensemble not only relate to Byzantium, Catalonia and Southern France, but also to the Muslim world of the Eastern Mediterranean, North Africa and Al Andaluz, including the Great Mosque in Cordoba. Pisan art can thus be studied in its particular ability to amalgamate different formal elements in an astonishingly unique and unified structure. The innovative artistic and intellectual climate in Pisa includes new forms of technological and scientific knowledge. The most famous case is that of the mathematician Leonardo Fibonacci who wrote the groundbreaking treatise De Libro Abaci (1227) referring to Indian and Arabian arithmetics which, according to his introduction, he learned in an abbacus school in his early youth in Bejaia in Algeria, where his Father served as a notary of the Pisan republic. The summer school in Pisa investigates how one of the leading Mediterranean port cities of the Middles Ages responded to its heterogeneous cultural experiences intellectually and artistically. The seminar discusses the architecture of the Piazza dei Miracoli, the sculpture of the Pisani, the frescoes of the Campo Santo and other monuments of the city. It also includes an excursion to Sardinia to visit major medieval monuments of the island which was temporarily under Pisan dominion. Finally, as counter-evidence, the situation from 1063 to ca. 1320/1350 is compared with the later development after the Florentine capture of Pisa in 1406. In the wake of the modern concepts of territoriality, the Medici archdukes tried to separate religious and commercial interests within their state more clearly: turning Pisa into the realm of the military religious Order of Santo Stefano and at the same time founding a liberal commercial harbour in Livorno. While expressly accepting the diffusion of holy books of all religions in Livorno, the Medici, with Pietro Tacca’s monument for Ferndinando I, concurrently made use of new ways of claiming cultural supremacy in the public space. 09.–17.05.2010 Concept and Organization Hannah Baader Avinoam Shalem Gerhard Wolf Sponsored by The Getty Foundation Guest scholar Jonathan Bloom (Boston College of Art and Sciences) Experts Taher Ghalia (Musée National du Bardo) Lotfi Abd Eljaoued (Musée des Arts Islamiques, Kairouan- Raqqada) Interactions in the Mediterranean Basin: The Case of Late Classical, Aghlabid and Fatimid Tunisia (Tunis/ Mahdiyya/Qayrawan) Summer School The art of Ifriqiya is one of the most fascinating areas of medieval Islam. It presents visually the process by which Roman, Late Antique, and Byzantine cultures were integrated to create a new aesthetic language for a region under a muslim rulership and demonstrates innovative methods of shaping holy spaces in early medieval Islam, be it Sunni (Qayrawan) or Shiite-Fatimid (Mahdiyya). The city of Qayrawan, with its mosques, is one of the most holy places in Islam after Mecca, Medina, and Jerusalem, and Mahdiyya is the first official city build by the Fatimid dynasty. By shifting the direction of the scholarly gaze to this specific space which is located in the heart of the Mediterranean basin, the Summer School in Tunisia considers the art, architecture and urbanism of Ifriqiya and its relationships to neighboring cultures in a different and broader light. The proximity between Africa and Europe in this particular geographical space; the active medieval naval trade routes linking Ifriqiya to South Italy, Sicily, Al-Andalus and to the eastern ports of the Mediterranean Sea; the land routes of the sub-Saharan trade that cross this region; the constant links with other Muslim centers like Abassid Misr (Egypt), Baghdad, Samarra, Mecca and Medina; and the interactions, in peaceful or violent times, involving the movements of people, ideas and artifacts, made it a symbiotic region of land and water with cities which became for a certain period centers of the medieval world. Studying the art and architecture of Ifriqiya through a magnifying glass, from this particular perspective and within Ifriqiya’s »global« Mediterranean context contributes to the understanding of the emergence of a new multi-facetted, aesthetic and visual language in the medieval Mediterranean sphere. A specific emphasis is given to innovative military architecture (ribat and Qal’a) and the interaction of its aesthetic language with palatial and religious architecture. Moreover, the colonial historiographies of Tunisia and the construction of Tunisia’s visual-cultural narrative is considered critically, especially through study of the history of museums and the display of archaeological objects. The Summer school is part of the research program »Art, Space and Mobility in the Early History of Globalization. The Mediterranean, Central Asia and the Indian Subcontinent 400–1650«.
Page 1 and 2: FORSCHUNGSBERICHT | APPENDIX NOVEMB
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Page 5 and 6: Max Planck Minerva Research Group .
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juli 2012 - Kunsthistorisches Institut in Florenz

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