Professor Johannes Endres recieves fellowship at the IAS (Institute for Advanced Study) at Van Mildert College, University of Durham, January-March 2023
At Durham, Professor Endres will work on his current book project on “Style” as an interdisciplinary category of the study of texts, images and music. As part of his project, he will be in close collaboration with Professor Jonathan Long from Durham’s School of Modern Languages & Cultures. Professor Long is also the co-director of the Center for Visual Arts and Culture at Durham. The collaboration is based on their mutual research interest in German Literature, literary theory, and the study of visual culture in relation to literary artefacts.
The Getty Research Institute hosted the fifth annual Getty Graduate Symposium, which showcased the work of emerging scholars from art history graduate programs across California. Organized into three sessions, the symposium included nine individual presentations, panel discussions moderated by faculty mentors, and Q&A sessions with the audience. 
In 1564 Florentine monk and intellectual Vincenzo Borghini deemed basso rilievo the ‘dolce amaro’ of the arts: ‘sweet’ because sculptors might approach the capacity of painting to depict elements of an istoria, but also ‘bitter’ because relief could neither render a convincing painterly illusion of depth nor offer the multiple views of sculpture in the round. Borghini’s opinion of relief as a kind of ‘imperfect hybrid’ (Ostrow 2004, 336) is far from unique: indeed, such ambivalence typifies most writings on relief—themselves very few and far between—from the early modern period. Yet, as uneasy as art theoreticians were with this art form, relief permeated the built environment and daily lives of contemporary Italians, as it invested objects ranging from monumental architectural façades to miniature plaquettes. A partial and ‘imperfect’ amalgamation of painting and sculpture perhaps, but such in-betweenness allowed reliefs to use the means of both in order to engage viewers across an incredibly broad array of socio-spatial contexts. Foregrounding the idea of embodied spectatorship, my presentation will examine both textual accounts and artifacts that respond to particular aspects of such interaction, including that of a spectator’s mobility, tactile engagement, and the changeable environments that conditioned their encounters with relief sculpture. While similar, phenomenologically-oriented approaches have been fruitfully applied to the study of Renaissance sculpture in the round and even painting, these concerns remain underexplored with respect to relief sculpture. Here the production of the late 16th-century ‘Recanati School’ of bronze casters will form my primary case study: not only did these artists develop an unusually strong tradition of bronze relief, but their work spanned a wide variety of different socio-religious spaces—from doors, to chapel walls, to statue bases—in and around the Basilica della Santa Casa di Loreto.
Thomas Pelzel, a professor of Art History during the early years of the university, died on July 3, 2022. Born in West Virginia in 1927, he completed his PhD at Princeton University in 1968 before coming to UCR. Tom served for many years – by special demand and vocal entreaties by colleagues and students – as Undergraduate Advisor but also for a period as Chair. His dissertation on the German painter Anton Raphael Mengs and Neo-Classicism became a book, and he published several important articles on the subject as well. The study of European art and theory of the neoclassical period remained his main field of scholarly work.
Jesse Rocha, 2021 Richard G. Carrott Travel Award
Homer Charles Arnold, 2021 Françoise Forster-Hahn Travel Award
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