Notes and Records – Essay Prize – deadline 31-01-16

Lunar Landscape 1910 (C) Royal Society Picture Library

Lunar Landscape 1910 (C) Royal Society Picture Library

Notes and Records: the Royal Society Journal for the History of Science is offering an essay prize.

This biennial competition is open to researchers in the history of science, technology and medicine who have completed a postgraduate degree within the last five years.

The unpublished essay, based on original research, should relate to aspects of the history of science, technology or medicine. The award includes a cash prize of £500. The deadline for submission of an essay is 31st January 2016.

More details at

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2 PhDs @ Leiden in Ichthyology

Drawing of fish from Ms III C 22, 110,© Amsterdam University Library. Please do not reproduce without permission.

Drawing of fish from Ms III C 22, 110,© Amsterdam University Library. Please do not reproduce without permission.

Visitors to this website might be interested to know that there are two PhD (full-time) places on offer at the Faculty of Humanities, Leiden University Centre for the Arts in Society (LUCAS) is looking for a PhD student to work on a project called: Enlightened Fish Books: A New History of Eighteenth-Century Ichthyology (1686-1828), deadline 15 April, and Collection Building: Ichthyology in the Netherlands during the Nineteenth-Century (1760-1880), deadline 15 June. Below are the links to these posts. The funding is generous and Leiden is a beautiful town.

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Two Post-doctoral posts in the graphic and pictorial practices of the early Royal Society

Richard Waller's  study of plants (C) The Royal Society

Richard Waller’s study of plants (C) The Royal Society

Making Visible: the graphic and pictorial practices of the early Royal Society (CRASSH, University of Cambridge)

2 x Postdoctoral Associates, starting 1 September 2015, for 3.5 years

Deadline: 8 April 2015.  Online application at: CRASSH

This AHRC-funded project examines the roles visual resources and practices played in the development and dissemination of scientific knowledge in the first fifty years of the Royal Society (1660-1710). It is an interdisciplinary project led by Dr Sachiko Kusukawa (history of science), with Dr Felicity Henderson (literature and material culture) and Dr Alexander Marr (history of art) as co-investigators. How did drawings, diagrams, tables and charts come to be used alongside words and objects by a group of people who hoped to reform and establish a new form of knowledge of nature, based on collaboration, experimentation and observation? In what ways did it mark the emergence of a scientific visual culture in the early modern period?

The project involves extensive archival research at the Royal Society, study sessions in historical graphic techniques and instrumentation, academic workshops involving international scholars, and interviews with curators and specialists. It also has an ambitious program of public engagement activities, including an exhibition in 2018 at the Royal Society. The findings of the project team will be disseminated through journal articles, a volume of essays, a co-authored monograph, blogs and pod-casts on the project website, as well as in public lectures, workshops and conferences. The project is looking for two PDRAs, one with a background in history of science and the other in history of art, who will collaborate closely.

The project is based at CRASSH, which also hosts Dr Alexander Marr’s ERC Project, Genius Before Romanticism: Ingenuity in Early Modern Art and Science and Dr Subha Mukherji’s ERC project, Epistemic Intersections in Early Modern England: the Place of Literature.

Download a Project Description

This post is suited to scholars in the early stage of their careers who have research experience in either history of art or history of science of the period, and are able to conduct archival research, have or are willing to acquire additional skills (e.g. drawing, printmaking techniques, object-handing, and use of historical instruments) by working with specialists and curators, and are familiar with digital media (database, blogs, websites, podcasts, social media).

The RAs are expected to conduct archival research (mainly at the Royal Society), generate and maintain data on a picture database, work effectively with a wide range of curators and specialists through study sessions and interviews, write research papers (a minimum of two papers during the project), participate in international workshops, assist in editorial work of project publications, generate content for the project website, collaborate on an exhibition to be held at the Royal Society, give gallery talks in that exhibition, plan, arrange and take part in the project’s public engagement activities. They will work closely with the investigators.


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Call for proposals: Art and Science in the Early Modern Low Countries @Rijksmuseum and Trippenhuis

‘Art and Science in the Early Modern Low Countries’ 

Astronomical Clock by Richard Ledutz, c. 1640, 39.5 cm high. Rijjksmuseum

Astronomical Clock by Richard Ledutz, c. 1640, 39.5 cm high. Rijksmuseum

Amsterdam, 17-18 September 2015; submit proposals by 15 April 2015


Anticipating plans for a future exhibition on Art and Science in the Early Modern Low Countries (ca 1550-1730), the Rijksmuseum and the Huygens Institute for the History of the Netherlands (Royal Dutch Academy of
Arts and Sciences) organize a preliminary, two-day conference. This event will take place at the Rijksmuseum (September 17th) and the Trippenhuis (September 18th) in Amsterdam.

The Low Countries were flourishing in the early Modern Period, influenced by developments in Northern Italy and Southern Germany. First Antwerp and later Amsterdam emerged as centers of artistic and scientific innovation and creativity, and as nodal points in the exchange of goods, knowledge and skills. It is certainly no coincidence that a high level of artistic productivity in the Low Countries coincided with the so-called ‘Scientific Revolution’. Seen from a contemporary point of view, ars and scientia were complementary concepts, rather than opposites.

The aim of the conference is to explore the possibilities, prospects and also the pitfalls of the conjunction of ‘art and science’, and to contribute to the developing conversation between historians of art, historians of science
and everyone interested in the visual and material culture of the sixteenth- and seventeenth-century Low Countries. The organizers look forward to receiving original submissions that address the relationships between art and science on both a material and a conceptual level.

Proposals which take objects, works of art, images, or illustrated texts as their point of departure are particularly welcomed. These may include ‘borderline’ topics – cross-overs between art and science, such as decorated shells, maps, models, pop-up books or anatomical preparations. Although the focus of the conference will be the Low Countries – both the South and the North – proposals which make reference to developments elsewhere shall certainly be considered, so long as the overall relevance for the main theme is clear.

Topics for discussion may include, but are not limited to:

  • the fluid borders between art and nature, both in theory and in practice (e.g. life casting techniques, strategies of display),
  • the influence and use of new theories and instruments of visual representation (e.g. the use of perspective, anatomical analysis, the telescope, microscope and camera obscura),
  • the processes and techniques that artists used for the visual representation of the increasing body of traditional and new knowledge, such as different print media and the use of color, multi-sheet and interactive prints.
  • the mediation of direct observation by visual conventions and the specific demands of illustrations concerned with the production of new knowledge (for instance with regard to previously unknown flora, fauna and peoples, and to anatomical and astronomical discoveries),
  • the emergence in visual materials of new conceptions of objectivity and trustworthiness (e.g. the meaning of ‘ad vivum’ and its cognates; the character and use of illustrations in natural histories and ‘scientific’ treatises),
  • spaces where scholars, craftsmen and artists cooperated, discussed and produced new knowledge, such as cabinets of curiosities, the workshop, the anatomical theatre and the botanical garden,
  • the role of religion in the definition and construction of knowledge and its influence on the visualization of knowledge.

We invite proposals for 20-minute and 10-minute papers, presenting the results of new or ongoing research. 
A 300-word abstract (preferably including an image or reference to a work of art), together with a short curriculum vitae, should be sent to both:

Jan de Hond (

Eric Jorink (

Proposals should be submitted no later than April 15, 2015.

The selection of proposals will take place during the following month.

For further particulars, see pdf: CfP Art and Science in the Early Modern Low Countries 17-18 September 2015

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Call for Papers: Modern Scientific Observing Depicting Disseminating @ Graz

Observing Depicting Disseminating
The Scientific Perspective in the Modern Period

Symposium: 7-9 May 2015; Sign up by 1 February 2015

Celebrating its 10th anniversary, the interdisciplinary Centre for the History of Science at the University of Graz is organising a two-day conference on the topic of “Observing, Depicting and Disseminating” and its relevance for the history of science.

In 1776 the Protestant pastor, librarian and naturalist Jean Senebier (1742-1809) described his ideal of a naturalist in his essay concerning the practices of scientific observation as follows:

For the observer who seeks to enlighten people, it is not sufficient to have noticed a phenomenon. It is necessary that he reveals it to the senses of those who are not observing and that he, by his own example, instructs all those who are unaware of it.”1

Even though scientific work has changed significantly since the 18th century, three components can be found in this quote that still shape our understanding of science today and that have provided the key words for this congress.


Observing – as the foundation of any empirical science – is a fundamental human ability used to encode and understand the natural world. Systemizing scientific observations, theoretically questioning them and finally drawing rule-governed conclusions from them distinguishes scientific observations from everyday experiences. The act of observation played a key role in the emergence of empirical sciences. This ocularcentrism in western sciences is not only based on the established methods of empirical observation and research but also on concepts of epistemology and the perception theories of philosophers like Francis Bacon or John Locke. Inextricably linked to this are the invention, development and usage of scientific instruments that enhanced human perception and opened up new vistas, questions and problems within the realm of scientific observations. To what extent do theory and practice correlate in terms of perception and observation? Which ways of observing can be reconstructed in the history of science? What problems of justification arise due to the usage of scientific instruments? How much does the “scientific perspective” change the way we look at the world?

1 Senebier, Jean: L’art d’observer, Vol. 2, Geneva 1775, S. 2. Own translation.


The many different ways of depicting the visible and the invisible world have always been central to the development of the sciences. They represent comprehensive theoretical concepts, serve as epistemic tools or epitomize the coherences of a natural order. Without depicting the results of scientific work it would be impossible to spread these findings for the purpose of scientific progress. Various forms of depiction and techniques of (re-)presentation – from artistic drawings to computer-generated imaging – illustrate the scientific genesis and refer to a dialectic between observer and the observed. How did the relation between perception and depiction take shape in the course of the history of science? What were the aims of documenting and were these aims fulfilled? How much did documenting influence scientific thought?


Passing on and explaining scientific knowledge has always been necessary both within and outside the scientific community. The results of scientific thinking and activity have always been communicated within scientific institutions, such as universities, academies or scientific societies but also in the wider areas of social life. Therefore, questions concerning the various ways of conveying information arise, as well as questions about the target audience. What forms of conveying information were developed in the course of the history of science and which were actually used? In what way did the active conveying of scientific information influence scientific attitudes and opinions? How did the various ways of disseminating information influence the information itself?

The symposium welcomes scholars of all disciplines interested in the history of science, so that the “scientific perspective” can be approached in an interdisciplinary context from different theoretical standpoints. Questions concerning the general field of observing, depicting and disseminating can be considered as possible contributions, but other suggestions are welcome as long as they address the genesis of sciences and their methods of operating and thinking.

For further details, see the pdf:  ODDCallForPapersEN.

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A four-year Cambridge Post-doctoral fellowship in Art as a Source of Knowledge

Visitors to this site would be interested to know that Churchill College, Cambridge, has advertised a new post-doctoral fellowship:

Jeffrey Rubinoff Fellowship in Art as a Source of Knowledge

Churchill College, Cambridge

Churchill College, Cambridge

A new four-year research fellowship at Churchill College for early career postdoctoral researchers working in the field of Art as a Source of Knowledge, with a focus on the visual arts.

Human interaction with art, whether as creators, commissioners or receivers, by its nature engages the senses, the intellect and the emotions. From it we learn about ourselves, about the physical, social and intellectual world around us, and about wider society and other societies, in terms of culture, ideas, politics, religion and economics. It can be a window into other worlds, otherwise hidden from us. It provides perspective. It teaches us things of which we were scarcely aware, or even completely unaware.

Further details are available on the Churchill website:

And the application is through the Churchill JRF scheme (deadline 16 November 2014):

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Call for Abstracts: Netherlandish Art in its Global Context

Call for Abstracts: Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek, Volume 66:

BrillNetherlandish Art in its Global Context / De mondiale context van Nederlandse kunst

Netherlandish art testifies in various ways to the increased interconnectivity of the Early Modern world. The Low Countries were an essential node during “First Globalization”: Antwerp and Amsterdam became global capitals while the “world’s first multinational”, the Dutch East India Company, heralded the age of classical capitalism. Fortuitous factors, including successful mercantile logistics, the geographical reach of the Jesuit mission, and the thriving publishing and translation industry made the area a crucible of cultural exchange. Everyday lives changed as foreign luxuries, and local copies, became widely available. Eventually, Dutch imitations of Chinese porcelain found their way to colonists in Surinam. Not only were these objects implicit or explicit repositories of knowledge, carriers of ideas unto which new expectations were projected; the Netherlands also engendered a worldwide public for prints and a surplus of migrant artists. The Low Countries, as a contested fringe area of the Habsburg Empire marked by internal fault lines, demonstrated a unique intellectual flexibility and creative productivity in the first period of intensive artistic exchange between Europe and the rest of the world.

Outside rare products such as Joost van den Vondel’s dramatization of the fall of the Ming dynasty, literary reflections on this new interconnectivity were remarkably scarce. The visual arts are by comparison eloquent testimony to the global dimension of Netherlandish commerce and culture: from paintings depicting exotica to new iconography directed at global proselytization. Some painters seem to have realized this. When Samuel van Hoogstraten, in Introduction to the Academy of Painting (1678), sought to defend the Netherlandish school in comparison to Italy and the ancients, he highlighted its domain as the “entire visible world” and extended his analysis to East Asia and the Americas. He praised Rembrandt’s The Preaching of Saint John (Berlin, Gemäldegalerie) for the international audience it depicted, including an American Indian and a Japanese samurai.

Recent exhibitions have addressed the “Asian” dimension of Netherlandish art. The Rijksmuseum explored the meeting between East and West in De Nederlandse ontmoeting met Azie (2002). The Getty Museum’ s Looking East: Rubens’ s Encounter with Asia (2013) and Asia in Amsterdam (2015, Rijksmuseum / Peabody Essex Museum) focus on the way the East was perceived in Western eyes. The Victoria & Albert Museum examined the question of style with Baroque 1620–1800: Style in the Age of Magnificence (2009).

Scholars are increasingly embracing a worldwide approach and individual case studies have addressed Netherlandish art. Two of the first collective efforts appeared in 2014. Mediating Netherlandish Art and Material Culture in Asia (Kaufmann & North) focuses on the impact of Dutch art, from Persia to Indonesia; Chinese and Japanese Porcelains for the Dutch Golden Age (Van Campen & Eliëns) highlights the unique role of Chinese and Japanese ceramics in Dutch cultural history. Yet an integrated analysis of Netherlandish art from the perspective of global history has not yet been undertaken. Scholars hesitate to re-introduce universalist terms such as “Baroque” or to project back unto the Early Modern situation recent notions of cultural hybridity, imperialism, consumer capitalism, and globalisation.

The next volume of the NKJ intends to explore further the global dimension of Netherlandish art. Contributions are invited which do more than stretch geographical boundaries. In many cases, the trajectory of images of and from the foreign involved “cross-mediality”: being, for instance, first published in print before returning in the applied arts and architecture. The point of origin demands interest, but also the reappropriation in Dutch or Flemish contexts. The editors welcome contributions on the various arts and crafts—including paintings, sculpture, architecture, prints, ceramics, furniture, maps, and models—and their interrelations.

The editors expect not only to bring new case-studies into the discussion but also to contribute to conceptual clarity and directions for future research. What is more, they hope that the comparative approach suggested by global history will put to the test accepted terms of periodization in art history such as “Early Modern”. Themes that may play a role are, amongst others, global versus local; the agency of material culture; imagology; cultural hybridity; network analysis; and the relinquishment of Eurocentric approaches. In addition, contributions may address the growing role of countries outside the West in collecting and studying Netherlandish art in the twenty-first century.

The NKJ is dedicated to a particular theme each year and publishes articles that employ a diversity of approaches to the study of Netherlandish art. For more information, see jaarboek

Contributions to the NKJ (in Dutch, English, German or French) are limited to a maximum of 7,500 words, excluding the notes.

The deadline for submission of proposals is 1 January 2015. Selection of proposals will take place in January and February 2015. The deadline for submission of the full articles for consideration and editorial comment is 15 May 2015. Final decisions on the acceptance of any paper will be made by the editorial board following receipt of the complete text.

Proposals for papers, in the form of a 300-word abstract and a short CV, should be sent to: Eric Jorink (
Frits Scholten (
Thijs Weststeijn (

Deadline: 1 January 2015

Notification: February 2015

Deadline first draft: 15 May 2015



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Ad vivum? call for papers @ Courtauld


** Friday 21 and Saturday 22 November 2014** (please note revised dates)

Organised by Professor Joanna Woodall and Dr Thomas Balfe.

The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN


The term ad vivum and its cognates al vivo, au vif, nach dem Leben and naer het leven have been applied since the thirteenth century to depictions designated as from, to or after (the) life. This one and a half day event will explore the issues raised by this vocabulary in relation to visual materials produced and used in Europe before 1800, including portraiture, botanical, zoological, medical and topographical images, images of novel and newly discovered phenomena, and likenesses created through direct contact with the object being depicted, such as metal casts of animals.

It is has long been recognised that the designation ad vivum was not restricted to depictions made directly after the living model, and that its function was often to advertise the claim of an image to be a faithful likeness or a bearer of reliable information. Viewed as an assertion of accuracy or truth, ad vivum raises a number of fundamental questions about early modern epistemology – questions about the value and prestige of visual and/or physical contiguity between image and original, about the kinds of information which were thought important and dependably transmissible in material form, and about the roles of the artist in this transmission. The recent interest of historians of early modern art in how value and meaning are produced and reproduced by visual materials which do not conform to the definition of art as unique invention, and of historians of science and of art in the visualisation of knowledge, has placed the questions surrounding ad vivum at the centre of their common concerns.

This event will encourage conversation and interchange between different perspectives involving a wide range of participants working in different disciplines, from postgraduate students to established academics. It seeks to encourage dialogue and debate by devoting a portion of its time to sessions comprising short, 10-minute papers, which will allow a variety of ideas and areas of expertise to be drawn into the discussion.

Topics may include, but are not limited to:

  •  The role of images, including book illustrations, described as ad vivum in early modern natural history, geography, cosmography, medicine and other investigative disciplines;
  •  The meanings of ad vivum in relation to sacred images, portraiture, landscape depiction, animal imagery, and other types of subject matter involving a claim to life-likeness;
  •  The connections between ad vivum and indexical images: death masks; life casts; the moulage; auto-prints made from natural phenomena;
  •  The connections between concepts of ad vivum and graphic media: the print matrix; imitation and reproduction in print; drawings, diagrams which claim to be ad vivum;
  •  The concept of ad vivum in cabinets of curiosities, sets and series, other groupings and collections;
  •  The application of the phrase ad vivum and its cognates to specific images, and usages and discussions of the terminology in early modern texts;
  •  The use of ad vivum in relation to images of the marvellous and the incredible, including monsters and other prodigies of nature.

We invite proposals for:

  •  20-minute papers
  •  Short, 10-minute (maximum 1,000-word) papers which will address one example or theme, or make one argument persuasively

Please send proposals of no more than 250 words by 15 August 2014 to and

PDF of the call is here

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Vivitur Ingenio: a virtual exhibition of Vesalius’s Fabrica and Epitome @ Cambridge

Vivitur Ingenio: a virtual exhibition of Vesalius’s Fabrica and Epitome

Vesalius, Fabrica 1543, p. 164 (C) National Library of Medicine, Bethesda

Vesalius, Fabrica 1543, p. 164 (C) National Library of Medicine, Bethesda

‘Vivitur ingenio, caeteris mortis erunt’ – one lives on by the spirit, the rest shall belong to death – was a line commonly attributed to Virgil lamenting the death of his patron Maecenas (though we now know that the poet died before his patron). It is a phrase that adorns one of the most enduring images in On the fabric of the human body by Andreas Vesalius. He was born 500 years ago in 1514; he died fifty years later, in 1564. To mark the 500th anniversary of his birth, I have curated an online exhibition of several rare books from the wonderful collection at the University Library of Cambridge.   The exhibition link is here:

Albrecht Duerer, Engraving of Willibald Pirckheimer (1524) Wikimedia.

Albrecht Duerer, Engraving of Willibald Pirckheimer (1524) Wikimedia.

The Virgilian phrase was used earlier by Albrecht Dürer in his engraving portrait of his humanist friend, Willibald Pirckheimer, and deployed later by the astronomer Tycho Brahe as a decoration to one of his instruments, as explained in the Astronomiae Instauratae Mechanica – see the coloured version with English translation at the Royal Library of Denmark here.


I was quite struck by not only how often Vesalius’s image of the skeleton was copied , but also how the notion of ‘ingenium’ seems to have become important for those engaged in the study of nature. Perhaps Vesalius’s image of the skeleton was one medium through which the idea of ‘ingenium’ circulated. Thus I felt it fitting to use the phrase as a motto for the exhibition.


An advantage of a digital exhibition is that it can show many pages from the same book, juxtapose pages from different books, and show elements that are difficult to appreciate (such as continuous background landscapes) in a book in situ. The zooming facility enables us to see the extraordinary details achieved by woodcut in the Fabrica. The experience of the twenty-first-century viewer of the Fabrica is thus quite different from Vesalius’s contemporaries, who complained that some of the details were not readily visible.


Part of the paper manikin of a coloured manikin from Vesalius Epitome (1543) (C) Cambridge University Library

Part of the paper manikin from Vesalius’s Epitome (1543) (C) Cambridge University Library

Cambridge University Library also took this occasion to digitize fully its extraordinary coloured copy of Vesalius’s Epitome, the companion volume to the Fabrica. Happily, in this copy of the Epitome, the cut-out, ‘pop-up’ paper manikin has survived.  You can see the book here.

I have particularly enjoyed examining the coloured frontispiece of the Epitome (the same woodcut as the one used in the Fabrica), as the colouring brings out the details of the crowded theatrical scene of the black-and-white woodcut. We know very little at this point of the original provenance of this copy of the Epitome – for whom it was made and coloured. It is not clear, for example, whether or how it might relate to the lavishly coloured copy of the Fabrica that Vesalius dedicated to Emperor Charles V. This copy was sold at Christies NY in 1998, from the collection of the Haskell F. Norman Library of Science and Medicine, and its frontispiece can be examined in some detail at the website of New York Public Library (remnant of the 1999/2000 exhibition ‘Seeing is Believing’).

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Joint Fellowship MPIWG Berlin Ateliergebouw Amsterdam (3 Months in 2015)

And here’s another excellent opportunity for those interested in ‘knowing and making’!

Max Planck Research Group Art and Knowledge in Pre-Modern Europe; Director: Prof. Dr. Sven Dupré

in collaboration with

the Faculty of Humanities of the University of Amsterdam, Conservation and Restoration of Cultural Heritage programme; contact: drs. Suzanne Maarschalkerweerd, programme manager C&R)


one fellowship for three months between January 1 and December 31, 2015.

The tenure of the fellowship is to be divided between the two institutes: the first and third months will be spent at the MPIWG, the second month at the UvA (“Ateliergebouw”). The fellow will be offered research facilities at both institutions. Outstanding junior and senior scholars (including those on sabbatical leave from their home institutions) are invited to apply. Candidates should hold a doctorate or should be engaged with research in the history of science and technology, in the history of art and art technology, in conservation and restoration or in a related field at the time of application and show evidence of scholarly promise in the form of publications and other achievements.

Research proposals should address the history of knowledge and art and culture up to the eighteenth century, and may concern any geographical area within Europe, and any object of the visual and decorative arts. Projects related to ongoing projects, esp. ‘early modern materials and art technologies’ at the Max Planck Research Group Art and Knowledge in Pre-Modern Europe will receive preference.

The proposal should make clear how the project would benefit from the resources and contribute to the research culture of the programme Conservation and Restoration of Cultural heritage from the University of Amsterdam.

Visiting fellows are expected to take part in the scientific life of the Institute, to advance their own research project, and to actively contribute to the relevant project of the Max Planck Research Group Art and Knowledge in Pre-Modern Europe.

The Max Planck Institute for the History of Science is an international and interdisciplinary research institute ( The colloquium language is English; it is expected that candidates will be able to present their own work and discuss that of others fluently in that language.

Fellowships are endowed with a monthly stipend of 1.365 € (predoctoral fellows), between 2.100 € and 2.500 € (postdoctoral fellows from abroad) or between 1.468 € and 1.621 € (postdoctoral fellows from Germany), whereas senior scholars receive an honorary commensurate with experience.

The Max Planck Institute for the History of Science covers also the round trip travel costs from the fellow’s home institution and a round trip Berlin-Amsterdam.

The University of Amsterdam traces its roots back to 1632, when the Golden Age school Athenaeum Illustre was established to train students in trade and philosophy. Today, with some 30,000 students, 5,000 staff and a budget of more than 600 million euros, it is one of the largest comprehensive universities in Europe. Teaching and research at the UvA are conducted at seven faculties including Humanities. Over time, the UvA has risen to international prominence as a research university, gaining an excellent reputation in both fundamental and socially relevant research.

The UvA’s thriving doctoral programmes provide an excellent foundation for engaging in high-quality teaching and research. The UvA seeks to offer an inspiring international academic environment in which both staff and students can develop their talents optimally. The result of a merger between the Faculties of Arts, Philosophy and Theology in 1997, the Faculty of Humanities not only houses an assortment of established and respected disciplines, including Art History, History and  Archaeology but also such pioneering research fields as Conservation and Restoration. One of the important components of the humanities is ‘culture’. Aligning with the existing research of the Faculty, the academic orientation on ‘culture’ can be enclosed in an historical and an analytical approach.

The UvA is the only Dutch university offering the study programme Conservation and Restoration (consisting of eight specialisations). The restoration of objects and research remain core aspects of the programme, which takes five years to complete. The eight specialisations each have their own atelier where objects are worked on under supervision. Researchers from the Cultural Heritage Agency and conservators of the Rijksmuseum work together with UvA students and lecturers in the Ateliergebouw, a building with laboratories and studio’s. The Ateliergebouw is also the home of the Dutch centre of expertise of conservation research and art technology in the Netherlands (under construction). Conservation and Restoration is a relatively new academic discipline. Research in conservation must be relevant to the  restoration process, with a fair amount of collaboration taking place with art historians and scientists. The research results of lecturers and students are actively disseminated at (inter)national congresses, symposiums and lectures. The UvA will offer a workplace as well as access to all facilities.

The Visiting Fellow will be based in the Ateliergebouw and be expected to participate to the research culture of the centre. S/he will be expected to contribute a research seminar and to provide some guest lectures for the students of the programme during the period of the fellowship. Candidates of all nationalities are encouraged to apply; applications from women are especially welcome.The Max Planck Society is committed to promoting handicapped individuals and encourages them to apply.

Candidates are requested to submit a curriculum vitae (including list of publications), a research proposal on a topic related to the project (750 words maximum), one sample of writing (i.e. article or book chapter), and names and addresses of two referees (including email) who have already been contacted by the applicant to assure their willingness to submit letters of recommendation if requested, under:

by August 4, 2014.

A committee with representatives from the Max Planck Institute and the UvA will assess the applications. Successful candidates will be notified before September 15.

For questions concerning the Max Planck Research Group on Art and Knowledge in Pre-Modern Europe, please see or contact Sven Dupré (; for administrative questions concerning the position and the Institute, please contact Claudia Paaß (, Head of Administration, or Jochen Schneider (, Research Coordinator. For enquiries concerning the C&R’s component of the fellowship, please contact drs. Suzanne Maarschalkerweerd, programme manager C&R, FGw, University of Amsterdam ( For more information about the UvA and its resources, visit the website (

Traces of Damage to Rembrandt's Night Watch (1975)

Traces of Damage to Rembrandt’s Night Watch (1975)

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