WOMENART

"Reassessing the Roles of Women as ""Makers"" of Medieval Art and Architecture"

Coordinatore	AGENCIA ESTATAL CONSEJO SUPERIOR DE INVESTIGACIONES CIENTIFICAS    more 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

#	participant	country	role	EC contrib. [€]
1	AGENCIA ESTATAL CONSEJO SUPERIOR DE INVESTIGACIONES CIENTIFICAS  Organization address address: CALLE SERRANO 117 city: MADRID postcode: 28006 contact info Titolo: Dr. Nome: Therese Marie Cognome: Martin Email: send email Telefono: +34 91 6022349 Fax: +34 91 6022971	ES (MADRID)	hostInstitution	1˙200˙000.00
2	AGENCIA ESTATAL CONSEJO SUPERIOR DE INVESTIGACIONES CIENTIFICAS  Organization address address: CALLE SERRANO 117 city: MADRID postcode: 28006 contact info Titolo: Ms. Nome: Ana Maria Cognome: De La Fuente Email: send email Telefono: +34 91 5681709	ES (MADRID)	hostInstitution	1˙200˙000.00

Mappa

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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.'