WOMENART
"Reassessing the Roles of Women as ""Makers"" of Medieval Art and Architecture"
| Coordinatore | AGENCIA ESTATAL CONSEJO SUPERIOR DE INVESTIGACIONES CIENTIFICAS
Spiacenti, non ci sono informazioni su questo coordinatore. Contattare Fabio per maggiori infomrazioni, grazie. |
| Nazionalità Coordinatore | Spain [ES] |
| Totale costo | 1˙200˙000 € |
| EC contributo | 1˙200˙000 € |
| Programma | FP7-IDEAS-ERC
Specific programme: "Ideas" implementing the Seventh Framework Programme of the European Community for research, technological development and demonstration activities (2007 to 2013) |
| Code Call | ERC-2010-StG_20091209 |
| Funding Scheme | ERC-SG |
| Anno di inizio | 2010 |
| Periodo (anno-mese-giorno) | 2010-12-01 - 2015-11-30 |
Partecipanti
| # | ||||
|---|---|---|---|---|
| 1 |
AGENCIA ESTATAL CONSEJO SUPERIOR DE INVESTIGACIONES CIENTIFICAS
Organization address
address: CALLE SERRANO 117 contact info |
ES (MADRID) | hostInstitution | 1˙200˙000.00 |
| 2 |
AGENCIA ESTATAL CONSEJO SUPERIOR DE INVESTIGACIONES CIENTIFICAS
Organization address
address: CALLE SERRANO 117 contact info |
ES (MADRID) | hostInstitution | 1˙200˙000.00 |
Mappa
Word cloud
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Obiettivo del progetto (Objective)
'This study addresses the question of medieval women's participation in the production and consumption of art and architecture. As patrons and facilitators, producers and artists, owners and recipients, women's overall involvement in the process is investigated within specific social and political contexts, examining interactions and collaborations (or confrontations) with men. A new point of departure will be to refocus on the terminology used in the Middle Ages, particularly the verb 'to make'. For artist and patron is a false dichotomy, or, at the least, a modern one. The verb employed most often in medieval inscriptions from paintings to embroideries to buildings is 'made' (fecit). This word denotes at times the individual whose hands produced the work, but it can equally refer to the person whose donation made the undertaking possible. Whereas today's eye separates patron from artist, the medieval view recognized both as makers. A most challenging aspect of this project comes from its transverse nature as a study of Christian, Islamic, Jewish and secular works. Just as these cultures were interrelated in the Middle Ages, to understand them today they must be examined as part of an overall milieu. What I propose is a new way of thinking about the history of art and architecture from the Middle Ages, one that does not automatically assume it to be by and for men but recognizes the contributions of women while situating them firmly within their historical contexts.'