CFP: Stories of East European and Russian Art: Alternative Art Histories

Art Histories Supplement 2.0, January 2016
Editor: Clemena Antonova

This issue of the Art Histories Supplement 2.0 will look at art criticism in Eastern Europe (Bulgaria, Romania, Serbia, etc.) and Russia from the middle of the nineteenth century to the present. Our motivation is to familiarize Western readers with a number of rich traditions of art historical writing, which for various reasons, including language, are little known to scholars in the West.

While art criticism in the region has been strongly influenced by Western art history and aesthetics, it has also reflected local artistic, historical, intellectual developments, which are specific to the national cultures. At times, the end result has been narratives of art that have offered alternative models of art history to the one established by the Western canon. At present, when scholars are becoming increasingly interested in issues of multiculturalism, including in the sphere of art criticism, the present volume represents a step away from the meta-narrative of the Western “story of art” towards the possibility of multiple “stories of art” (see James Elkins’s Stories of Art, (Routledge: New York and London, 2002).

Possible topics include, but are not limited to:
– Art history and cultural identity in Eastern Europe and Russia
– Art history and national myth-making (with a possible focus on the reception of a landmark monument)
– Art history between tradition and modernism
– Responses to Western formalism
– Art history in the age of revolution
– Art history in the Communist period (issues of art and religion, propaganda, cultural policy on art, etc.)

Please, submit an abstract of up to 500 words to the following e-mail address:

Deadline for the submission of abstracts: 15 June 2015
Deadline for the submission of the papers: 30 September 2015
Publication date: January 2016



Submissions to ArtHS 2.0

How do I submit a paper to Art Histories Supplement 2.0 e-journal? 
Can I submit a paper not responding to a particular call for papers?

Submissions should consist of:
a) a without word limit contribution; using footnotes,
b) a 100-150 word abstract,
c) a list of illustrations,
d) author(s) full address

Unless you respond to a particular guest edited volume call for papers, send your submission to itzortzak @

Files should be submitted in English and in Microsoft WORD format. Each image should be sent as a separate file; jpeg or .tiff (min. 300 dpi). Please note that all necessary copyright documentation for all quoted material and all illustrations must be included in the submission package.




Art Histories Supplement 2.0

Art Histories Society plans to launch Art Histories Supplement 2.0 e-journal

Art Histories Supplement 2.0, previously Art History Supplement ( aims to continue working at for a free, academic, and open access art historical research. Published on-line in printable form and using the English language as a lingua franca, Art Histories Supplement 2.0 hopes to bring two times a year (January and August) new seminal papers, documents and material to the field of art history studies.

Guest editors are, therefore, being solicited.

Guest editors are to be responsible for:

  • proposing a call for papers,
  • the appropriate open communication of the call for papers,
  • the final selection of papers,
  • writing an editorial,
  • sending papers, images – copyright cleared – and the editorial to the editor, at least, two months prior the intended publication date.

Respond to this call for expression of interest for guest editors to YannisTzortzakakis at


Call for Guest Editors

The Art History Supplement e-journal (Online edition: ISSN 2046-9225) is soliciting guest editors.

Guest editors are to be responsible for:
  •  the appropriate open communication of call for papers,
  •  the peer-review process,
  •  making sure submissions adhere to AHS author’s guidelines,
  •  the final selection of papers,
  •  writing an editorial,
  •  sending the full submission packages, as inscribed to author’s guidelines, and consequent material to ArtHS Editor, at least, two months prior the intended publication date.
 Email your interest, with the proposed call for papers and timeframe, along with a short CV (all in .doc or .docx format) to the ArtHS Editor.
*Read the author’s guidelines, as well, before submitting a proposal.

CFP: Paolo Morigia and the city of Milan

Art History Supplement, September 2015

Deadline for papers: May 15, 2015

Paolo Morigia (1525 – 1604) published in 1595 the, alleged, first travel guide of the city Milan, La nobilta di Milano. In the fifth chapter of his guide to Milan, the same author had been engaged with “Milaneses painters, sculptors, architects, miniaturists and other masters, in several things of virtue” (Nel quinto, si fa quella de’ pittori, scultori, architetti, miniatori, & altri virtuosi, in diuerse sorti di virtù, milanesi).[1] Morigia is largely known today for his historiographical work; through which we have invaluable sources on life and work of Arcimboldo, as found in Historia dell’antichità di Milano (1592); and more for having been for four times General of the Gesuati de san Girolamo.

The questions that arise could include: a) the art theory – art criticism of “minor” orders of Catholic Church, other than Jesuits or Oratorians, and b) the art and the image of the city of Milan according to the author.

Tourism and travel writing have recently gained anew an increasing interest through historians of art and architecture. Paula Findlen (The 2012 Josephine Waters Bennett Lecture) and Anne Hultzsch (Architecture, Travellers and Writers: Constructing Histories of Perception 1640-1950, 2014), for instance. Conferences have been arranged, for example, Travel and the Country House: Places, Cultures, and Practices (University of Northampton, 2014) and War, travel and travel writing (University of East Anglia, 2014). More, there are occasionally exhibitions examining travel literature and travels themselves through their artistic outcomes, as in a recent exhibition in the British Museum, In search of Classical Greece:  Travel drawings of Edward Dodwell and Simone Pomardi, 1805-1806. In addition, a subsequent discourse on Ruins has been noted; for example: Ruin Lust, (Tate Britain, 2013) and Une histoire universelle des ruines, a seminar by Alain Schnapp with Étienne Jollet and Pierre Wat (Louvre, 2014).

Julius von Schlosser in his eight volumes of Materialien zur Quellenkunde der Kunstgeschichte (1914-1920), then accumulated into one, Die Kunstliteratur (1924), placed all references of travel literature (such as monastery, travel or city guides) under the theme of topography of art. Ronald Barthes in his Mythologies (1957) highlighted the problematic that if one had to rely one’s view of Spain on Guide Bleu, one could have never imagined a Spain not being Christian.

Further, according to Évelyne Cohen and Bernard Toulier, a turn in the study of travel literature is the work of Daniel Nordman (1986) included in Les lieux de mémoire, edited by Pierre Nora. Cohen and Toulier in 2010 have also declared travel guides as being both source of culture heritage and study object of interdisciplinary nature. Moreover, Catherine Bertho-Lavenir (2010) has shown that French travel guides had been incorporated in the informal artistic education.

The example of Paolo Morigia and Milian could be a prominent; yet, contributions regarding alternate city guides, travelogues or authors, from Pausanias to Burckhardt or Julius Meier-Graefe are also welcome.

Contributions from graduate students are strongly encouraged. Non-western perspectives are especially welcome.

Submissions should consist a minimum of 3000 words, a 100-150 word abstract, and a list of illustrations. Files should be submitted in English and in Microsoft WORD format. Each image should be sent as a separate file; jpeg or .tiff (min. 300 dpi). Please note that all necessary copyright documentation for all quoted material and / or all illustrations must be included in the submission package, as the publication round may be short. For more information, visit author’s guidelines and editorial procedures at

[1] The text is freely accessible via the Google Books scheme; see first edition, digitized by Austrian National Library (4 Oct 2012).