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Education

Lectures Archive, Spring 2012

Download current calendar.
          Spring 2012 (pdf) >

Or select the lecture series.
Art Conservation | Blizzard Lecture | Lunchtime Talks
Mad Tom | Related Lectures | Saturday Special Tours
Conference | Weedon Lectures

Art Conservation Lectures

Lectures in conservation
This January, UVaM will launch its first series of lectures in art conservation. Topics in Art Conservation and The Art of the Conservator—each a three-part series—will include a lecture and hands-on studio component designed to engage course participants in topic-related aspects of this expanding and important profession within the Museum field. Space is limited, please RSVP to 434.962.3748.

“This is a very exciting and unique opportunity. With an eye towards the growing public awareness and popularity of conservation today and the newsworthy preservation projects being implemented by museums and governments the world over, we want to provide an opportunity for a direct, hands-on experience in understanding and engaging conservation and preservation issues.”
          — Scott Nolley
               Chief Conservator, Fine Arts Conservation of Virginia

Topics in Conservation

Friday, January 27
10 am - 12 pm

Friday, February 17
1-3 pm

Friday, March 16
1-3 pm

The Art of the Conservator

Friday, April 20
12-2 pm

Wednesday, May 16
9:30-11:30 am

Wednesday, June 13
10 am - 12 pm

UVaM Spring 2012 calendar

Art Conservation Lectures

Gladys S. Blizzard Lecture, Spring 2012


The Education of Andy Warhol
by Louis Menand
Anne T. and Robert M. Bass Professor of English, Harvard University

Thursday, March 22
6 pm
Harrison Institute

Andy Warhol was the last of the major Pop artists to appear. He didn't invent Pop; Pop had already happened. Why did Warhol take so long to emerge as an important artist, and what was he doing that made his work distinctive and historically important?

Presented by UVaM and the Institute of the Humanities and Global Cultures and a headline program for the Virginia Festival of the Book

Lunchtime Talks

Join us for these informal presentations on aspects of the Museum's collections and special exhibitions. Lunchtime Talks are usually held on Tuesdays at 12 pm in the Museum.

January 23
Tom Burckhardt: Paintings
by Tom Burckhardt

February 14
Chinese and French Porcelain
by Bruce Boucher

March 16
Master Printmakers: The Italian Renaissance and Its Modern Legacy
by Paul Barolsky

April 17
Japanese Woodblock Prints
by Stephen Margulies

May 8
100 Years of Photography: Part 2
by Matthew Affron

Mad Tom Society

These events are for members. Join Mad Tom Society >

Monday, January 23
Tom Burckhardt: Paintings
with Tom Burckhardt

Mad Tom Society

Related Lectures


Wednesday, April 11
6 pm
Campbell 153

Did Civil Rights Photography Do More Harm than Good?
by Martin A. Berger
Professor and Chair, History of Art and Visual Culture Department
University of California, Santa Cruz

Leonardo Live & Panel Discussion

February 19, 2012 | 2 pm
Paramount Theatre
Adult $14.50, Senior $12.50, Student $10

Made possible with support from Friends of UVaM

LEONARDO LIVE offers an unprecedented opportunity for audiences worldwide to experience these da Vinci works, including 8 of his 15 extant paintings — several of which have never hung in the same room before. The historic exhibition is sold out in London and, due to the fragility of the paintings, the exhibition cannot tour.

We are very pleased to announce that The Paramount will host a panel discussion for all ticket holders following the broadcast and featuring three experts from the University of Virginia.

Bruce Boucher
Director of the University of Virginia Art Museum and the author, among other works, of: The Sculpture of Jacopo Sansovino (1991); Andrea Palladio, the Architect in his Times (1994; 2007); and chief editor of Earth and Fire, Italian Terracotta Sculpture from Donatello to Canova (2001).

Francesca Fiorani
Associate Professor of Art History at the University of Virginia and an expert on the relationship between art and science in Renaissance and Baroque Europe. She has written extensively on space, cartography, art theory, and Leonardo da Vinci. The author of The Marvel of Maps. Art, Cartography and Politics in Renaissance Italy (Yale U.P., 2005) she is currently completing a book on Leonardo da Vinci's shadows.

Paul Barolsky
Commonwealth Professor of Art History, Dept. of Art. Professor Barolsky has been teaching at the University of Virginia since 1969, mostly courses on various aspects of Italian Renaissance art and literature. His books include Michelangelo's Nose, Why Mona Lisa Smiles, and Infinite Jest. His most recent book is A Brief History of the Artist from God to Picasso (2001).

More >

Did Civil Rights Photography Do More Harm than Good?

Saturday Special Tours

These informal presentations on aspects of the Museum's collections and special exhibitions are usually held on the last Saturday of each month from 2-3 pm in the Museum.

January 28
Curator's Choice: People, Places, and Things
by Jennifer Farrell

February 25
100 Years of Photography
by Stephen Margulies

March 3
Native American Art of the Southwest
by Mary Jo Ayers

March 24
Curator's Choice: People, Places, and Things
and
Tom Burckhardt: Paintings
by Jennifer Farrell

April 28
The Adoration of the Magi by Bartolo di Fredi: A Masterpiece Reconstructed
by Wolfgang Loseries

May 19
The Adoration of the Magi by Bartolo di Fredi: A Masterpiece Reconstructed
by Bruce Boucher

June 2
Emilio Sanchez: Cityscapes
by Ann Koll and Jennifer Farrell

Saturday Special Tours

Conference


Bartolo di Fredi and the Art of His Time

Friday, April 27
Campbell 153

Morning session | 9 am –12:30 pm

The View from Afar
by Hayden Maginnis
Professor Emeritus, McMaster University

This presentation will place Bartolo di Fredi's Adoration of the Magi within the Sienese tradition of landscape depiction while also introducing the artist and the work.

Bartolo di Fredi: Architect of the Cappella del Campo
by Wolfgang Loseries
Researcher, Kunsthistoriches Institut in Florenz-Max-Planck-Institut

The design for the prominent chapel at Siena's major square is among the most beautiful and important medieval architectural drawings of Tuscany. For a hundred years, this large parchment has been the object of art historical and architectural analyses, but its attribution and date remain controversial. Previously unknown documents now provide evidence about the creator, now known to be Bartolo di Fredi, and the exact time when it was designed. The discovered documents reveal a great deal of information both about the stylistic influence of two contemporary buildings in Florence and Pisa on the Sienese drawing, and about its function. The documents deliver a fascinating insight into the practice of public building in the medieval Italian town. The complex interaction between commissioners, architects, craftsmen, experts and artists is revealed in unusual clarity. This paper, which will discuss these topics, will also provide an answer to the question of whether Bartolo di Fredi was also the architect of the gothic Cappella del Campo.

The Early Imagery of Catherine of Siena and the Making of a Civic Saint
by Emily Moerer
Assistant Vice Provost for Upper Division Programs, Temple University

The Commune of Siena's well-documented devotion to the Virgin created the opportunity for Catherine of Siena (1347-1380) to become a powerful patron saint, when, in the fifteenth century, the civic art of Siena was consciously used to assert Catherine's saintly identity and achieve her canonization in 1461. This presentation will analyze the greater context of images of Catherine located strategically in the most important civic spaces of Siena, thereby demonstrating the civic identity of Catherine and providing coherent account of the emergence of her visual cult.

Afternoon session | 2–4 pm

The Toscanelli Altarpiece, or Seeing Sienese Painting through a Glass, Darkly
by Machtelt Israëls
Guest Researcher and Lecturer, University of Amsterdam

In 1908, the Toscanelli altarpiece entered the collection of Bernard and Mary Berenson at Villa I Tatti with an attribution to Pietro Lorenzetti. New research, however, shows the work to be a nineteenth-century configuration of fragments from three different fourteenth-century altarpieces: by Bartolomeo Bulgarini for Pienza, by Niccolò di Segna for Siena, and indeed by Pietro Lorenzetti for Monticchiello. In the nineteenth century, seeking such plausible re-assemblies constituted the beginning of an interest in the original appearance of Sienese polyptychs. These attempts profoundly affected the way fourteenth-century Sienese painting was understood by connoisseurs such as the Berensons. The relevant reconstructions, old and new, will be discussed and seen to distill and create the parameters for the study of Sienese art, then and now.

The Materials of Early Sienese Painting
by Anne Dunlop
Associate Professor, Tulane University

The palette of Trecento painting was a minor chemical and technical nightmare. Surviving written sources on painting are mostly guides to the miseries of the painter's basic materials. Yet these same pigments and metals had been drawn from all over the known world, and they had powerful properties of their own. This presentation will examine the place and meanings of materials within the history of early Sienese art.

Ellen Bayard Weedon Lectures in the Arts of Asia

With the generous support of the Ellen Bayard Weedon Foundation, the Museum presents four lectures on South and East Asian art each year.

Please join us for this year's series, all of which are held at 5:30 pm in Campbell 153.

Tuesday, February 28
Modern Indian Art and the University Art Museum
by Rebecca Brown

In 1985-86, the nationwide Festival of India blanketed the United States with 77 art exhibitions across 32 states. Three of these exhibitions focused on contemporary Indian art, two of which were hosted by galleries in universities–at NYU and UCLA. This paper presents these two exhibitions as contrasting examples of pushing the boundaries at the university museum, and asks whether these interventions encouraged wider acceptance of India's 20th century art.

Tuesday, April 10
Sculpture and Painting from Hozanji: Reassessing Later Japanese Buddhist ArtEndFragment
by John Rosenfield

Rising from humble origins, the Japanese Buddhist monk Tankai (1629-1718) became head priest at the mountain temple of Hozani, near Nara, and spiritual minister to the nation's rulers. His name appears as the maker of at least 150 sculptures, paintings, woodblock prints, calligraphies, and ritual implements, whose high aesthetic quality and social importance warrant a prominent place in the history and criticism of Japanese art.

Ellen Bayard Weedon Lectures in the Arts of Asia