Session Convenors:
Sandra Cardarelli, University of Aberdeen, SandraCardarelli@aol.com
Jill Harrison, The Open University, jill.harrison@open.ac.uk
Medieval and Renaissance artists travelled for a variety of reasons. Travelling could be part of the artist’s duty as the citizen of a city-republic as in the case of Siena. These journeys could entail the fulfillment of civic offices on behalf of the commune, or the depiction of a conquered castle. Ginzburg argued that travelling artists also moved in the quest for the most suitable material or because newly established artists pushed them to the edge of the artistic market in their homeland (Ginzburg, 1994).
Sometimes, travelling responded to the requests of new patrons that could grant lucrative contracts for their workshops, or to the wish to measure themselves against more prestigious and talent-nurturing markets (Richardson, 2007). In other instances the artists’ wish to diversify their markets reflected their need to work in more politically important and economically powerful locations.
Daniel Bornstein has convincingly argued that Luca Signorelli chose to leave his native town of Cortona in order to upgrade his status by breaking with the family tradition that mixed art with craftsmanship, to acquire major commissions (Bornstein, 2000).
This session explores the reasons that urged artists to travel and/ or to relocate their workshops, and the outcome of their activity following this process. Papers are welcome on any of the following aspects of workshop practice related to travel, but not limited to: - Itinerant artists
- Artists who relocated their workshops
- Artists who travelled, recalled by major patrons
- Artists, travel and politics
- Artists as diplomats and couriers
- The ways in which cultural exchange affected and modified the artist’s output in different locations.
- Artists who relocated their workshops
- Artists who travelled, recalled by major patrons
- Artists, travel and politics
- Artists as diplomats and couriers
- The ways in which cultural exchange affected and modified the artist’s output in different locations.
Sandra Cardarelli, Department of History of Art, University of Aberdeen, SandraCardarelli@aol.com
Jill Harrison, The Open University,Faculty of Arts, jill.harrison@open.ac.uk
Email: sandracardarelli@aol.com; jill.harrison@open.ac.uk
Visit the website at http://www.aah.org.uk/page/3339
Jill Harrison, The Open University,Faculty of Arts, jill.harrison@open.ac.uk
Email: sandracardarelli@aol.com; jill.harrison@open.ac.uk
Visit the website at http://www.aah.org.uk/page/3339
