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IMC 2020: Sessions

Session 1109: Transgressing the Artistic Borders of Late Medieval and Early Modern Northern Europe, II: Mobility at the Court and City

Wednesday 8 July 2020, 11.15-12.45

Sponsor:EU Marie Skłodowska-Curie Projekt (MSCA), 'HANSEALTAR' / Department of Art & Media Studies, Norges teknisk-naturvitenskapelige universitet, Trondheim
Organiser:Laura Tillery, Department of the History of Art, University of Pennsylvania
Moderator/Chair:Laura Tillery, Department of the History of Art, University of Pennsylvania
Paper 1109-aLooking beyond the Borders of the Danish Kingdom for Art and Artists: Art Commissions by Kings John and Christian II of Denmark
(Language: English)
Cynthia Osiecki, Philosophische Fakultät, Ernst-Moritz-Arndt-Universität, Greifswald
Index terms: Art History - Sculpture, Politics and Diplomacy, Printing History
Paper 1109-bExamples of English Alabasters in Scandinavia: The History and Reuse of the Alabasters in Lade Church in Norway
(Language: English)
Christina Spaarschuh, Norwegian Institute for Cultural Heritage Research Oslo
Index terms: Art History - Sculpture, Local History
Paper 1109-cA Historiographical Perspective on the Hansa House in Antwerp, 1564-1568
(Language: English)
Suzie Hermán, Department of Art & Archaeology Princeton University / Instituut voor Geschiedenis Universiteit Leiden
Index terms: Architecture - General, Art History - General, Historiography - Modern Scholarship, Maritime and Naval Studies

This two-part session attends to artistic interchange in northern Europe and Scandinavia in the late medieval and early modern periods. The six papers across two sessions focus on artistic mobility and the ways in which art objects, artists, and patrons transgressed actual and conceptual borders. Such themes include, but are not limited to: the production and movement of sculpture and altarpieces in the North Sea region, the roles of the court and the Hanse trade network in facilitating artistic mobility, the deconstruction of modern historiographic and geo-political borders, and the methodological borders between conservation and art history, among others.