Event Details

Tuesday, 18 June 2013
6:00 pm - 7:00 pm
UQ Location:
James and Mary Emelia Mayne Centre (St Lucia)
Event category(s):

Event Contact

Ms Gillian Ridsdale
Org. Unit:
The University of Queensland Art Museum

Event Description

Full Description:
The reclining nude is a staple of the western art tradition; becoming among other things an epitome of that thing we call art, a recurring challenge to artists, a site of gender-polemics, and a commentary on the aims and goals of art itself.

In this lecture I will take some of these things into account, but my focus will fall on a set of paintings representing reclining and/or sleeping figures on the lids of the large chests produced to celebrate patrician marriages in central Italy during the fifteenth century. They are curious and deserve attention on their own merits. But in this lecture I shall seek to draw them into dialogue with the history of emotions, in particular what does it mean to be confronted with what apparently is all surface, the skin, in the context of a chest that is to be opened and closed? Exploring the emotive interplay between interior and exterior, hiding and revelation, I shall try to explore not only what came chronologically before the canonical Venetian nudes of, for example, Titian and Giorgione, but also what it might have meant for spectators to stand before the reclining nude in fifteenth-century Italy.

Adrian Randolph, whose research and teaching focus on Italian medieval and Renaissance art, is the Leon E. Williams Professor of Art History and Associate Dean of the Faculty for the Arts and Humanities at Dartmouth College. From 2007 to 2011, he served as Director of the Leslie Center for the Humanities. He received his A.B. from Princeton University in 1987, an M.A. from the Courtauld Institute of Art in 1989, University of London, and a Ph.D. from Harvard University in 1995. He is the author of 'Engaging Symbols: Gender, Politics, and Public Art in Fifteenth-Century Florence' (Yale University Press, 2002) and a forthcoming book on gender and the experience of art in fifteenth-century Italy, 'Touching Objects'.

A new project addresses 'Renaissance Hybridity', which addresses representations of bodies that defy categorization as human, animal, or plant. His articles and essays have appeared in many collections and scholarly journals, including 'Art Bulletin', 'Art History, Word & Image', 'kritischeberichte', 'FrauenKunstWissenschaft', and 'Perspectives'. With Mark J. Williams, he co-edits the book series 'Interfaces: Studies in Visual Culture' (Dartmouth College Press/University Press of New England), which focuses on the theoretical implications of new media on the study of visual culture.

Free. All welcome.
Refreshments will be served after the lecture
RSVP Wednesday 12 June
Bookings essential as numbers are limited
Email: artmuseum@uq.edu.au
(07) 3365 3046

Presented by The Australian Research Council Centre of Excellence for the History of Emotions (Europe 11001800) and The University of Queensland Art Museum.

The emotions play a fundamental role in human life. The Australian Research Council Centre of Excellence for the History of Emotions (Europe 11001800) was established in 2011 under the ARC Centres of Excellence Program.
The Centre is committed to investigating how societies think, feel, and function by examining the history of Europe between 1100 and 1800 and comparing this past with the present day. This great expanse of European history, creativity, and thought remains one of the key influences on modern Australian life. By studying earlier European experience and culture, the Centre aims to produce a new, interdisciplinary, and comprehensive understanding of the long history of individual and communal emotions.

Directions to UQ

Google Map:
To St Lucia Campus, UQ Ipswich, and UQ Gatton.

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