Elli Doulkaridou-Ramantani |
EDUCATION
In progress Ph.D. candidate, History of Art, Université Paris 1 Panthéon-Sorbonne “L’art de l’enluminure à Rome dans la première moitié du XVIe siècle. Rôle des manuscrits et fonctions de l’ornement”. Advisor : Philippe Morel 2010 M.A. (Master 2), History of Art, Université Paris 1 Panthéon-Sorbonne “Fonctions de l’ornement dans les manuscrits de Giulio Clovio. Une étude autour du système décoratif des Heures Farnèse”. Advisor: Philippe Morel PUBLICATIONS “Enjeux de la décoration du missel du cardinal Juan Alvarez de Toledo”, Artitalies, 23, 2017, (forthcoming). “Fonctions de l’ornement dans les Heures Farnèse de Giulio Clovio”, Mitteilungen des Kunsthistorischen Institutes in Florenz, LVIII, 3, 2016, p. 349–375. “Reframing Art History”, International Journal for Digital Art History, 1, 2015, p. 89–103. CONFERENCE PARTICIPATION 2016 “Formes et fonctions de l’emblème héraldique dans les manuscrits enluminés des papes et cardinaux du Cinquecento,” Héraldique et Papauté, international conference organized by Laurent Hablot and Yvan Loskoutoff, 19–21 May, Ecole Française de Rome 2015 ”The border between Florence and Rome : Illuminating Manuscripts for the Medici,” 61st Annual Meeting of the Renaissance Society of America, 26–28 March 2015, Berlin 2014 “Dans la marge, à travers le cadre et au-delà : dispositifs d’encadrement dans les manuscrits enluminés romains, de Léon X à Paul III”, Jeux et enjeux du cadre dans les systèmes décoratifs à l’époque moderne, international symposium (HiCSA/CHAR, Université Paris I/ GEMCA, Université Catholique de Louvain/Centre François-Georges Pariset, Université Bordeaux Montaigne), 9–10 May, Institut national d’histoire de l’art, Paris FELLOWSHIPS 2016 Residential fellowship Centro Vittore Branca – Fondazione Giorgio Cini, Venice Daniel Arasse Residential Fellowship, École Française de Rome/Académie de France à Rome 2014 Residential fellowship Dutch University Institute for Art History Florence Daniel Arasse Residential Fellowship, École française de Rome/Académie de France à Rome Residential Fellowship Casa de Velásquez, Académie de France à Madrid for more information, see: https://univ-paris1.academia.edu/ElliDoulkaridou |
maniera in the margins of
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What is the link between the ancient Greek term Περιθ(ε)ωρώ/περιθώριον and its Latin synonym margo, -inis? How could we use this parallel terminology and its definitions in the study of manuscript illumination, especially during the Renaissance period, when the relationship between the center and the margin shifts in multiple ways? Lucian (Hermotimus, 44) used the Greek term to indicate “go around and observe”. Centuries later, Tertullian in his De Pallio used the term margo to indicate an elevated spot upon which one could observe the surroundings. The term’s secondary and nowadays principal definition – that of the space between the gutter of the page and the limits of the text – was also beginning to take form. The marginal space is enchanting. It is a metaxu space, the in-between, the liminal. Perhaps this is what draws the reader in: an identification having to do with the human nature, man being the metaxu of Good and Evil, of life and death. In the context of the mass, the manuscript used is in the center of the spectacle. Its margins and their decoration surround the nucleus containing the Verb but also call out to the immediate or imaginary spaces that they evoke. However, through its close connection to the framing device, the margin is also about control. Empty margins call for discussion, whereas completely decorated margins control the reader leaving questionable space for subjective intervention. Interpreted for so long as declarations of prestige, we are going to take a fresh look upon these decorated margins and question their “prestigious innocence” in times of maniera capriccios and stressful theological debates touching the core of Christianity, in other words the center of illuminated religious manuscripts and the beliefs of their owners. In this endeavor, we propose to examine a selection of manuscripts decorated in Rome during the sixteenth century for important prelates (such as the Farnese Hours) and even popes (manuscripts of the Sistine chapel). Sometimes the margin defines the center. In other cases the decoration sets the margin into a hard-to-pin-down territory and confuses the reader. Contaminations and transgressions redefine the relationship between center and margin, their frontiers becoming progressively entwined. Phenomenology, history of the book and recent studies in liminal phenomena will help us cast more light on the margins of, what is often considered, the swan song moment of manuscript illumination. |