Creativity frequently springs from the movement of people, ideas, and objects across frontiers and boundaries and into places deemed new, foreign, strange, or remote.  These encounters produce highly charged, often violent, contact zones, stimulating the desire to collect, to map, to trade, and to possess. We investigate the things that result from such encounters and the ways in which these things affect the people who make, recreate, and use them.




    Painting the Grand Tour

    This painting, attributed to William Theed, represents a Grand Tour that I would readily embark on, replete with breathtaking panoramas and adorable spaniels. Is it overly idyllic? Perhaps! However, it offers a brief snapshot of the type of exploration documented in Itinera and this makes it all the more exquisite. 

    According to the account: 

    Rome Seen on a Grand Tour, attributed to John Frearson (c. 1792-1831), who set out for Italy with the painter William Theed in 1790 but travelled from Florence to Rome alone later that year when Theed was recalled to England. Frearson stayed mostly in Rome, but also visited Naples and Venice before returning to England in 1766. This picture captures the fascination with the light of the South seen in many paintings, as well as the closeness between city and countryside.

    -Italy and the Grand Tour, Jeremy Black, Yale University Press: 2003 page 48


    • Itinera
    • Mobility/Exchange

    CFP: Digital Mapping and Art History

    Cool! Middlebury made a Summer Institute for Itinera!

    Middlebury, Vermont, August 3 - 15, 2014
    Deadline: Mar 3, 2014

    Summer Institute on Digital Mapping and Art History
    Call for Applicants

    Middlebury College, Middlebury VT
    August 3-15, 2014

    Middlebury College is pleased to invite applications for Fellows to
    participate in the first Summer Institute on Digital Mapping and Art
    History (August 3-15, 2014), generously sponsored by the Samuel H.
    Kress Foundation. Co-directed by Paul B. Jaskot (DePaul University) and
    Anne Kelly Knowles (Middlebury College), the Summer Institute will
    emphasize how digital mapping of art historical evidence can open up
    new veins of research in art history as a whole. All art historians of
    any rank (including graduate students, curators, or independent
    scholars) with a scholarly problem related to spatial evidence or
    questions are encouraged to apply.

    Whether talking about the spreading influence of Rembrandt’s workshop,
    Haussmann’s Plan of Paris, the Roman Forum, the caves of Dunhuang, the
    views of Edo, the market for Impressionist painting, the looting of
    assets by Napoleon, the movement of craftsmen over the medieval
    pilgrimage road, or the current proliferation of art expos globally,
    art history is peppered with spaces, both real and imagined. As such,
    spatial questions are central to many art historical problems, and
    visualizing spatial questions of different physical and temporal scales
    is an intellectual and technical problem amenable to the digital
    environment. Building the capacity to think spatially in geographic
    terms will carry an art historian a long way towards developing
    sophisticated questions and answers by exploiting the digital

    At the end of the two-week period, Fellows will have a grounding in the
    intellectual and historiographic issues central to digital humanities,
    basic understanding of the conceptual nature of data and the use of a
    database, an exposure to important examples of digital art history in
    the field, and a more in-depth study of one particular digital approach
    (GIS and the visualization of space). Graduating Fellows will have the
    vocabulary and intellectual foundation to participate in on-going
    digital humanities debates or other specialized digital humanities
    workshops while also gaining important practical and conceptual
    knowledge in mapping that they can begin to apply to as scholars and

    Given this focus, our Institute will be ideal for those art historians
    who already have identified a spatial problem in their work. Note,
    though, that no prior knowledge or experience in digital humanities
    will be necessary or assumed for the application process. Naturally,
    general  awareness of the scholarly potential of the digital
    environment or mapping will be a plus. All geographies, time periods,
    and subareas of art history will be considered.

    For questions, please contact at any time the co-directors
    Paul B. Jaskot,; Anne Kelly Knowles,

    • Itinera
    • Mobility/Exchange