According to Holanda in his Dialogues, Michelangelo claimed that Northern, and specifically Flemish art, « will please the devout better than any painting in Italy…It will appeal to women, especially to the very old and the very young, and also to monks and nuns and to certain noblemen who have no sense of true harmony.” Perhaps as a consequence, few artists are more closely associated with Italy than Michelangelo. This session seeks to question this notion, calling for papers to broaden the conversation by considering the influence, interactions, and legacy of Michelangelo and his art on Northern Europe during the Early Modern period.
Possible paper topics include:
– The history, influence, and interpretation of the Bruges Madonna
– Michelangelo’s artistic exchanges with France through the Leda, the lost Bronze David, and the Louvre Slaves and possible impacts on French artists
– So-called “Northern” iconographies, such as the pietà
– Michelangelo’s designs in contemporary print culture
– The impact of Michelangelo’s writing/biographies outside of Italy
– Artistic dialogues with Michelangelo’s work in the north by artists such as Rubens and others
– The collecting, distribution, and influence of Michelangelo’s works in Northern museums
– Collections of the artist’s drawings in Haarlem, London, and elsewhere
– Newly discovered and attributed works in Northern collections, such as the Oxford panel and the Cambridge bronzes
copies/replicas in Northern collections
Please send a brief abstract (no more than 250 words); and a brief curriculum vitae to Emily Fenichel (email@example.com) and Tamara Smithers (firstname.lastname@example.org). Provide a 3 to 4 sentence (max 150 words) biography that includes affiliation, rank and one or two important publications or other evidence of scholarship by Feb. 1, 2016.
Session du congrès de la Sixteenth Century Society