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X-WR-CALNAME:2023 ºÚË¿¹ú²úÔÚÏß/Kress Lecture in Italy\, Venice
X-WR-CALDESC:ºÚË¿¹ú²úÔÚÏß
X-WR-TIMEZONE:America/Chicago
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TZOFFSETFROM:-0600
TZOFFSETTO:-0500
DTSTART:20230312T080000
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DTSTART:20230326T010000
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BEGIN:VEVENT
SUMMARY:2023 ºÚË¿¹ú²úÔÚÏß/Kress Lecture in Italy\, Venice
DESCRIPTION:Titian\,&nbsp\;Isabella d'Este\, c. 1530\, Kunsthistorisches
  Museum\n\n\n\nJodi Cranston\, Boston University\n\n\n\nThe Worn Animal:
  Furs and Perfume in Early Modern Venetian Art\n\n\n\nIn addition to acq
 uiring and keeping animals for hunting and for companionship\, early mod
 ern Venetians actively sought out and circulated a range of products mad
 e from animals.&nbsp\; Furs of marten\, sable\, ermine\, squirrel\, and 
 fox\, among others\; gloves made from a variety of animal skins\; and mu
 sk generated from civet cats and other animal sources were worn.&nbsp\; 
 Wearing animal products was not\, of course\, an innovation of or limite
 d to early modern Venice.&nbsp\; However\, despite this relatively conti
 nuous supply\, these animal products make a noticeable increase in their
  appearance in artworks\, specifically Venetian paintings\, in the later
  15th and early 16th centuries.&nbsp\; For a few decades around the turn
  of the 16th century\, furs (both on clothing as well as hand-held furs 
 such as muffs and pelts)\, gloves\, and musk (and specifically the poman
 ders and jewelry used for carrying the scents) became more prevalent in 
 portrait-type paintings\, in particular.&nbsp\; Sitters are portrayed wi
 th worn animal products at a time when the supply of new furs in particu
 lar was somewhat compromised by shifts in trade routes and dwindling eco
 logical resources\; and second-hand furs were widely available to and ci
 rculated among a growing number of socio-economic groups.&nbsp\; Wealth 
 and status oftentimes facilitated the initial acquisition of these anima
 l products\, but were not absolutely necessary\, and certainly not neces
 sary in order to wear them.&nbsp\; Such circumstances undermine the art 
 historical interpretations of the depiction of these worn animal product
 s solely and dependably as signs of the sitter’s wealth and status.\n\
 n\n\nJodi Cranston\, Professor in the Department of History of Art and A
 rchitecture at Boston University\, is the author of Green Worlds of Rena
 issance Venice. Her paper today is related to research undertaken for a 
 forthcoming book entitled Animal Sightings: Art\, Animals\, and Court Cu
 lture\, 1400-1550\, which is scheduled to be published by Penn State Uni
 versity Press in 2025.\n\n\n\nIn-person\, with live-streaming for remote
  attendees on the Fondazione Cini YouTube channelCoffee break at 16.00\,
  preceding the eventLecture and q&amp\;a 17.00–18.30Introductions by L
 uca Massimo Barbero (Director of the Institute of Art History\, Fondazio
 ne Cini) and Tenley Bick (ºÚË¿¹ú²úÔÚÏß President)Aperitivo and cocktails in the c
 loisters from 18.30–20.00
URL;VALUE=URI:/events/2023-ias-kress-le
 cture-in-italy-venice/
UID:urn:uuid:f8b6f966-a506-43f1-96a8-d0fc85f2fe1f
STATUS:CONFIRMED
ORGANIZER:
DTSTAMP:20240905T142225Z
DTSTART;TZID=Europe/Rome:20230630T170000
DTEND;TZID=Europe/Rome:20230630T170000
LOCATION:Sala Barbantini\, Fondazione Cini\, Venice
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