Lectures Archive, Spring 2012
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Spring 2012 (pdf) >
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
Friday, March 16
The Art of the Conservator
Friday, April 20
Wednesday, May 16
Wednesday, June 13
10 am - 12 pm
Gladys S. Blizzard Lecture, Spring 2012
Thursday, March 22
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
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.
Tom Burckhardt: Paintings
by Tom Burckhardt
Chinese and French Porcelain
by Bruce Boucher
Master Printmakers: The Italian Renaissance and Its Modern Legacy
by Paul Barolsky
Japanese Woodblock Prints
by Stephen Margulies
Mad Tom Society
These events are for members. Join Mad Tom Society >
Monday, January 23
Tom Burckhardt: Paintings
with Tom Burckhardt
Wednesday, April 11
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
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.
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).
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.
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).
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.
100 Years of Photography
by Stephen Margulies
Native American Art of the Southwest
by Mary Jo Ayers
Bartolo di Fredi and the Art of His Time
Friday, April 27
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.