{"id":21477,"date":"2021-09-04T08:35:35","date_gmt":"2021-09-04T06:35:35","guid":{"rendered":"https:\/\/char.hypotheses.org\/?p=21477"},"modified":"2021-07-20T09:41:54","modified_gmt":"2021-07-20T07:41:54","slug":"colloque-en-ligne-materiality-of-terracotta-sculpture-1400-1600-9-10-septembre-2021","status":"publish","type":"post","link":"https:\/\/char.hypotheses.org\/21477","title":{"rendered":"Colloque en ligne : Materiality of Terracotta Sculpture 1400-1600, 9-10 septembre 2021"},"content":{"rendered":"

Modelled, Fired, Transformed: Materiality of Terracotta Sculpture 1400 – 1600<\/strong><\/p>\n

Terracotta has long suffered from the view that it is merely an auxiliary medium, to be analyzed primarily in relation to its role as a building material or its preparatory use in the design of more prestigious bronze or marble sculptures. Yet in recent decades scholars have shown that terracotta sculpture revolutionized the Italian fifteenth-century art scene and during the sixteenth century its artistic significance resonated in other parts of Europe. The success of terracotta sculpture at that time should be credited to the technical ingenuity, including glazing its surface, believed in the Renaissance to have been unknown in antiquity and therefore artistically and intellectually innovative.<\/p>\n

The growing field of studies of terracotta sculpture contributed to the re-evaluation of the material but at the same time it divided small-scale terracotta figurines from large-scale sculptures. The arbitrary distinctions into the fine art and the applied arts, with the latter category often dismissed as purely decorative, obscured the image of the artistic production and neglected the technical similarities between the two products. However, in the fifteenth and sixteenth centuries all terracotta sculptures solicited a complementary range of interactions through the agency of their material and form.<\/p>\n

Modern conservation research assists art historians in thinking about the practice, artistic technique and production of terracotta sculpture. Various teams of conservators use similar methods to analyse small- and large-scale artefacts. This provides a scientific justification for inclusive examination of terracotta sculpture from that period. This two-day conference held at the University of Warsaw will offer a possibility of the full exchange of ideas between researchers working on terracotta as a sculptural material.<\/p>\n

PROGRAMME<\/p>\n

Day 1 \u2014 Thursday, 9th September 2021<\/strong><\/p>\n

9.20\u20139.30
\nWelcome and Introduction:
\nZuzanna Sarnecka and Agnieszka Dziki (University of Warsaw)<\/p>\n

9.30\u201311.00
\nSession 1 \u2014 Mimetic Ventures<\/strong><\/p>\n

Federica Carta (Universit\u00e9 de Picardie-Jules Verne, Amiens\/ Universit\u00e0 degli Studi di Perugia):
\nJeux d\u2019\u00e9chelle: glazed ornament between architecture and altarpieces<\/p>\n

Erin Giffin (Ludwig-Maximilians-Universit\u00e4t M\u00fcnchen\/ Villa I Tatti):
\nExceeding Expectations: Traversing Material Boundaries through Terracotta (online)<\/p>\n

Virna Ravaglia (University of Genova):
\nAntonio Begarelli and Small-Scale Terracotta Sculpture<\/p>\n

Discussion<\/p>\n

11.00\u201311.15
\nCoffee Break<\/p>\n

11.15\u201312.45
\nSession 2 \u2014 Forging Identities<\/strong><\/p>\n

Jeanette Kohl (University of California, Riverside):
\nA Material Anthropology of Resemblance. Quattrocento Portrait Sculpture in Terracotta<\/p>\n

Francesca Padovani (Universit\u00e0 di Trento):
\nHans Reichle’s Contribution to the Practice of Terracotta Sculpture in Tyrol (online)<\/p>\n

Oxana Smagol (Moscow State University):
\nThe Problem of Terracotta Sculptural Cornice of Palazzo Bolognini, Bologna (online)<\/p>\n

Discussion<\/p>\n

12.45\u201314.00 Lunch<\/p>\n

14.00\u201315.30
\nSession 3 \u2014\u00a0 Terracotta and Design<\/strong><\/p>\n

Catherine Kupiec (Independent Researcher):
\nLuca della Robbia\u2019s Labors in Terracotta<\/p>\n

Roberta Olson (New-York Historical Society):
\nThe Transformation of Della Robbia Glazed Terracotta Garlands from Luca through Giovanni: The Promise of Immortality and Paradise in a Frame (online)<\/p>\n

Dylan Smith (National Gallery of Art, Washington, D.C.):
\nClay Models in Verrocchio\u2019s Workshop (possibly online)<\/p>\n

Discussion
\n15.30\u201315.45 Coffee Break<\/p>\n

15.45\u201316.45
\nSession 4 \u2014 Sculpture and Painting<\/strong><\/p>\n

Andreas Huth (Technische Universit\u00e4t Berlin):
\nFace and Surface. Some Observations on Painted Quattrocento Terracotta Busts<\/p>\n

David Lucidi (Independent Researcher):
\nThe Primacy of Terracotta. Sculptures for Painting in the 16th-century Renaissance Florence (online)<\/p>\n

Discussion<\/p>\n

17.00\u201318.00
\nKeynote Lecture:
\nMarietta Cambareri (Museum of Fine Arts, Boston) (online)<\/p>\n

Day 2 \u2014 Friday 10th September 2021<\/strong><\/p>\n

10.00\u201311.00
\nKeynote Lecture:
\nGiancarlo Gentilini (Universit\u00e0 degli Studi di Perugia)<\/p>\n

11.00\u201312.30
\nSession 5 \u2014 Devotional Terracotta<\/strong><\/p>\n

Rachel Boyd (Ashmolean Museum, University of Oxford.):
\nFamiliar Visions: Glazed Terracotta, Serial Production, and Devotional Experience in Renaissance Italy (possibly online)<\/p>\n

Marco Scansani (Scuola Normale Superiore di Pisa):
\nGiovanni de Fondulis, a \u201cscultor tere\u201d for the Ordo Eremitarum<\/p>\n

Zuzanna Sarnecka (University of Warsaw):
\nPopes\u2019 Clay: Devotional Terracotta Sculpture in the Papal States<\/p>\n

Discussion<\/p>\n

12.30\u201314.00 Lunch<\/p>\n

14.00\u201315.30
\nSession 6 \u2014 Agency of Clay<\/strong><\/p>\n

Bart van Eekelen (Utrecht University):
\nMateriality as Incentive to Stylistic Innovation in Earthenware from Bergen op Zoom (15th-16th century)<\/p>\n

Nicola Jennings (Courtauld Institute of Art):
\nMaking Necessity a Virtue: Lorenzo Mercadante and the Beginnings of Sevillian Terracotta (online)<\/p>\n

Jo\u00e3o Rola\u00e7a (University of Lisbon\/ Vicarte – Glass and Ceramics for the Arts):
\nMonumental Terracotta Sculpture in Portugal before and after Hodart- Artistic and Technical Approach<\/p>\n

Discussion<\/p>\n

15.30\u201316.00
\nClosing Remarks<\/p>\n

16.00\u201318.00
\nVisit to the National Gallery in Warsaw<\/p>\n

The conference will be organised as a hybrid onsite\/online event. It will be possible to listen to papers and join the discussions via Zoom. Please contact us at\u00a0z.sarnecka@uw.edu.pl<\/a>\u00a0or\u00a0dzikiagnieszka@gmail.com<\/a>\u00a0if you would like to join us in person or to request the event link.<\/p>\n

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

Modelled, Fired, Transformed: Materiality of Terracotta Sculpture 1400 – 1600 Terracotta has long suffered from the view that it is merely an auxiliary medium, to be analyzed primarily in relation to its role as a building material or its preparatory use in the design of more prestigious bronze or marble sculptures. Yet in recent decades scholars have shown that terracotta sculpture revolutionized the Italian fifteenth-century art scene and during the sixteenth century its artistic significance...<\/p>\n","protected":false},"author":29934,"featured_media":21478,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_license":"","publish_to_discourse":"0","publish_post_category":"0","wpdc_auto_publish_overridden":"","wpdc_topic_tags":"","wpdc_pin_topic":"","wpdc_pin_until":"","discourse_post_id":"","discourse_permalink":"","wpdc_publishing_response":"","wpdc_publishing_error":"","footnotes":""},"categories":[22,5362],"tags":[3612287],"ppma_author":[3615618],"class_list":["post-21477","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-actualite-de-la-recherche-en-histoire-de-lart-de-la-renaissance","category-colloques-et-journees-detude","tag-terracotta"],"authors":[{"term_id":3615618,"user_id":29934,"is_guest":0,"slug":"fiammettacampagnoli","display_name":"Fiammetta Campagnoli","avatar_url":"https:\/\/secure.gravatar.com\/avatar\/9dc955126555194048bcc9742b792a0ea919b3351247ffa34984bebaf912f379?s=96&d=mm&r=g","1":"","2":"","3":"","4":"","5":"","6":"","7":"","8":""}],"_links":{"self":[{"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/posts\/21477","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/users\/29934"}],"replies":[{"embeddable":true,"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/comments?post=21477"}],"version-history":[{"count":4,"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/posts\/21477\/revisions"}],"predecessor-version":[{"id":21480,"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/posts\/21477\/revisions\/21480"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/media\/21478"}],"wp:attachment":[{"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/media?parent=21477"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/categories?post=21477"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/tags?post=21477"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/ppma_author?post=21477"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}