Benutzerspezifische Werkzeuge

In the early modern era, woodcut and engraved prints operated on multiple levels: as individual creations, and as resources representing preexisting images, objects and spaces. Given the medium’s inherent multiplicity and mobility, prints effectively project visual ideas and concepts, creating mobile models in image and text for dissemination. The medial constitution of print fosters an often undervalued phenomenon of reinterpretation, by channeling traits of artistry and subject matter from the printed medium back into individually produced objects, including paintings, sculptures, and architecture. The workshop engages with the intermediary quality of print and the effective “translation” of information and imagery into situated, singular artefacts. It considers print culture simultaneously for its materiality, as a conveyor of ideas and information tempered by physical and visual constraints, as well as a conceptual conduit extending between cultures and communities.

PROGRAMM
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Friday, 28 June, 2019
Zentralinstitut für Kunstgeschichte, Katharina-von-Bora-Straße 10, 80333 Munich, Room 242

08:45-09:00    // Welcome
09:00-09:30    // Chiara Franceschini, Erin Giffin, and Antonia Putzger: Message, Messenger, or False Friend? An Introduction

09:30-11:20    The Message Embodied and Re-Embodied

Stephanie Porras (Tulane University): “Indexical Incoherence: The ontology of early modern print”
Christoph Stei (Freie Universität Berlin), “Prints at the Crossroad. The Use of Early Engravings as Models for Wall-paintings in Fifteenth-century Assisi”
Ruth Ezra (Harvard University), “Veit Stoss’s Thinking Tools”

11:30-13:00    Visit Staatliche Graphische Sammlung, Munich (Workshop Presenters Only)

13:00-14:00    Lunchbreak

14:00-15:50    Normative Processes and Visual Power Structures

Antonia Putzger (Universität Bielefeld): “Establishing Norms of Style and Iconography in Counter-Reformation Contexts”
Max Wiringa (Katholieke Universiteit Leuven), “Fragments of Order. Constructing Renaissance Architecture in the Low Countries”
Carolin Alff (Universität Hamburg): “Communicating Alterity Through the Depiction of the Plinian Races in Hartman Schedel’s Weltchronik and the Elucidarius”

15:50-16:30    Coffee Break

16:30-18:20    Text and Vision: Script and Image

Nelleke Moser (Vrije Universiteit Amsterdam): “Print, Paint and Penmanship in Eighteenth-century Trompe l’Oeil Books”
Shaun Midanik (University of Toronto), “Picturing Paratext: Pietro Bartoli’s Colonna Traiana (c. 1673) as Intermediary”
Romana Kaske (Ludwig-Maximilians-Universität), “Believing the Material. Familiar Objects as Markers of Credibility on Early Modern Prints”

Saturday, 29 June 2019
Ludwig-Maximilians-Universität, Zentnerstraße 31, Munich, Room 510

09:00-10:50    Faith in Authoritative Print

Erin Giffin (Ludwig-Maximilians-Universität): “Alternative Realities in Authoritative Prints of the Santa Casa di Loreto”
Charlotte Wytema (Courtauld Institute): “Examining the Role of Prints in the Proliferation of The Virgin with Fifteen Symbols”
Clare Kobasa (Columbia University): “Rosalia Reproduced: Printing and Sainthood”

10:50-11:30    Coffee Break

11:30-13:20    Latent Perceptions, False Friends, Semantic Shifts

Michael Gaudio (University of Minnesota): “Dancing in Circles: Print and Experience in the Ceremonies et coutumes religieuses de tous les peuples du monde”
Aaron Hyman (Johns Hopkins University), “The Copy as the Work of the Original”
Christopher Heuer (University of Rochester): “Lost and Found: Dutch Prints Rediscovered and Modern Re-evaluations of Meaning”

13:20-15:00    Lunch, Closing Remarks