CFP: El Greco and his oeuvre; between art history and visual culture

Art History Supplement, March 2015

Deadline for papers: January 15, 2015


This issue of Art History Supplement seeks contributions discussing the work and the life of the artist through the perspective of art histories and visual studies. Taking Dominikos Theotokopoulos (El Greco) as a case study, or a paradigm, for the manifold uses and values of images of his life and work.

In the light of the 400th anniversary of his death, papers are sought investigating dealing with aspects of intellectual engagement with these two, seemingly, different disciplines. El Greco and his oeuvre have become: papers, books, monographs, symposia, exhibitions, auction and/or exhibition catalogues, catalogues raisonné, slides, photocopies, smart phone or computer applications and databases, websites and blogs, flyers, advertisements, photo albums, comics, jigsaw puzzles, movies, documentaries, music, concerts, stamps, cover pages, haute cuisine and menus, name of streets, hotels, restaurants and taverns. On the other hand, there are artistic appropriations of his oeuvre, along with cultural, as national or local, promotions of identities. What does the celebrations of El Greco’s death imply today, particularly, for Greece and Spain?

Yet, how does an art history study of the critical reception of El Greco and his oeuvre differ from a visual culture one in practice? At first, a quick response could indicate that art history is history whilst visual culture is anthropology. Therefore, originating from two different intellectual starting points, they are two separate fields of study that both share the material aspect of their objects. Further, an answer, in short, could indicate the study by visual culture of artefacts that are not considered art; but in certain context. Quoting Margaret Dikovitskaya (2005): “Visual Culture, also known as visual studies, is a new field for the study of the cultural construction of the visual in arts, media, and everyday life. It is a research area and a curricular initiative that regards the visual image as the focal point in the processes through which meaning is made in a cultural context” and “An interdisciplinary field, visual studies came together in the late 1980s after the disciplines of art history, anthropology, film studies, linguistics, and comparative literature encountered poststructuralist theory and cultural studies.” In addition, Nicholas Mirzoeff (1999) had previously noted that “Visual culture is concerned with visual events in which information, meaning or pleasure is sought by the consumer in an interface with visual technology.” Taking into account that history is not only the presentation of events, but their explanation and an interpretation too. What would be the questions that history, for instance, cannot answer, regarding visual phenomena or symptoms?

Art history as history (or, according, to the Germanic tradition, science) of images, encompasses the notion of art, always in a certain context. More, an image could be described as conceptual, literary, pictorial, tactile, moving and digital. But If we are to study any ephemeral constructions and design, described by Vasari, as (sources of) art history, why should we study our contemporary graphic or web design as visual culture? Graphic design is considered art, isn’t it? An answer to this ought first to overcome that a time distance has to give its place to a critical distance in the study of art history, as presence is in anthropology.

Further, a simple Google image search, or a Twitter one, on El Greco will bring a vast variety of, artistic or not, ephemera, appropriations and manifestations of his life and work, which indisputably bring the artist in question between art history and visual studies.

Perspectives from graduate students are strongly encouraged.

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. For more information, visit:



TOC: Art History Supplement 4.3, May 2014

Table of Contents

Editorial board. 2

Editorial in absentia. 3

Małgorzata Rychert: The Mill and the Cross: an in-depth film analysis of Peter Brueghel’s painting The Way to Calvary. 5

Kathleen O’Neil: A suggestion for a classical source for Donatello’s Judith and Holofernes, the Mithraic Tauroctony. 17

Giorgio Bacci, Davide Lacagnina, Veronica Pesce, Denis Viva: Spreading visual culture; a digital project for contemporary art, literature and visual culture. State of the art, perspectives and collaborations. 27

Books received. 53

Call for manuscripts. 55

Louis Marin and the material condition. 55

Unorthodox Autobiographies. 57

Call for guest editors. 60

Call for artists. 61

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CFP: Unorthodox Autobiographies

CFP: Unorthodox Autobiographies
Art History Supplement, November 2014

Contact: Matthew Ryan Smith, Guest Editor,

Deadline for abstracts: July 1, 2014
Deadline for papers: September 1, 2014

Launched in 2011, Art Histories Society (ArtHS) is a free, independent, online non-profit, educational, open network; working towards a public understanding of arts and their histories. ArtHS promotes, through its website, social media and its e-journal, advances in the science of history of art. ArtHS also proposes a critical direction towards the study of public and oral art history; and towards a hypothesis that personal stories and interpersonal relations shaped and constructed the science of art history.

Art History Supplement (Online edition: ISSN 2046-9225) is a bimonthly scholarly e-journal, published by Art Histories Society.

Issue 4.6, “Unorthodox Autobiographies” welcomes papers that engage an interdisciplinary and unconventional approach to the study of autobiography in art history and visual culture. “Unorthodox Autobiographies” is intended to challenge conventional discourses of autobiographical studies by rupturing its definitions, and thus opening it up to new lines of flight and states of inquiry. We aim to provide a scholarly venue for papers that would not rest comfortably in other, more traditional, scholarly publications. This issue of Art History Supplement is specifically intended to contribute to the growing discipline of autobiography, a typically literary-based disciplinary field of knowledge, in the visual sphere.

For the forthcoming issue of Art History Supplement, we seek submissions from scholars, visual artists, artists, and art critics. Possible topics or areas of interest include, but are certainly not limited to, the following subjects:

– Dynamic representations of memory or affect
– Communications of historical or structural trauma
– ‘Selfies’ and self-portraiture
– Social networking and online presence
– Autobiography as Otherness
– Queering autobiography
– Politics of public / private autobiographies
– Relationships between literary autobiography and visual autobiography
– Self-representation, psychotherapy, and confession
– Image archives and image banks
– Narcissism and overrepresentation
– Truths and falsehoods
– Technological mediations of identity

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. For more information, visit:



CFP : Paragone Studies (Quebec, 18-20 Sep 14)

Quebec City, Canada, September 18 – 20, 2014

Deadline: Apr 1, 2014
Paragone Studies Conference

Papers are invited for The 3rd Annual International Conference in Paragone Studies, to be held at the Musée des beaux-arts du Québec (Museum of fine arts of Québec:, just outside of the old quarter of the City of Québec in Canada.

The conference’s purpose is to support the scholarly investigation of the paragone, or rivalry in the arts, as it has been manifested in all media across history. The conference will also include a round-table session featuring artists who choose to discuss how competition in the arts, past or present, has impacted their work or their professional lives.

To apply: Submit a 300-word abstract using the paper or round-table presenter appropriate form on the conference website
( and send to Please include a c.v.


CFP: Paragone Studies (Quebec, 18-20 Sep 14). In: H-ArtHist, Mar 6, 2014 (accessed Mar 6, 2014), <>.




TOC : Art History Supplement, 4.2, March 2014

Art History Supplement, vol. 4, issue 2, March 2014

Table of Contents


1. Editorial. 4

2. G.M.P. (1911-1912), by Gertrude Stein. 11

3. The unknown masterpiece, by Honoré De Balzac. 94

4. A Manual of the Historical Development of Art, by Gustavus George Zerffi. 122

5. “Of Exotic and New Styles in Venice,” by Luigi Antonio Lanzi. 136

6. “How I met Enriqueta Harris and Tomas Harris,” by Nigel Glendinning. 166

7. CFP: Representations of the life of Leonardo da Vinci in motion pictures. 170

8. CFP: Louis Marin and the material condition. 173

9. Call for guest editors. 175

10. Call for artists. 176

11. Support us. 177


Read online or download as PDF via Google Drive