Between Accademia and Bottega. Drawing in the late Renaissance and early
Baroque.

At the end of the sixteenth century the practice of drawing displayed
various possibilities for approaching the visible. After being
theoretically discussed by Giorgio Vasari and Federico Zuccari as the
essence of every artistic invention, the function of drawing as a
handcraft and a method to acquire knowledge of the visible world became
more important.

This panel aims to analyze this process by focusing on treatises and on
documents concerning the statutes of academic learning as well as on the
artistic habits in the workshop of drawing based on living models in
Italy, France, Germany and the Netherlands around 1600. Papers that
present new interpretations and points of view on workshop practice and
the use of drawing in the working process on the one hand, and the status
of drawing as an autonomous artistic expression on the other hand, would
be welcome. Objectives may include topics on the use and reuse of models
in both work of art and artistic education, drawings as strategies of
artistic perception of the real, drawing as laical practice, or the use of
drawing for books dealing with naturalistic phenomena and natural science.

Chair: Prof. Eckhard Leuschner

Please submit your abstract (up to 150 words) and a short CV no later than
May 15, 2009 to:
Dr. Claudia Steinhardt-Hirsch, Institut für Kunstgeschichte,
Karl-Franzens-Universität Graz, claudia.steinhardt-hirschuni-graz.at