Renaissance French Literature, especially classical reception, cartography/cultural geography, visual studies/art history.
…CAA; RSA; Sixteenth-Century Studies; Italian Art Society; South-Central Renaissance Conf and affiliate Society for Renaissance Art History; Christians in the Visual Arts; MFA Houston; Menil Collection, Houston,…
I am a social and cultural historian, currently a PhD candidate, concerned with what is easily phrased as the sociology and anthropology of intellectuals and their communities. I study the history of humanists in mid-to-late fifteenth-century Rome through the stories of their friendships, rivalries, enemies, collegialities, and employment. My research focuses on how wider behaviour, rituals, and actions affected the development of humanism and society in Rome. Working with the methods of social, cultural, and intellectual history, I tie together the social and intellectual worlds of Renaissance Rome, and more generally, Renaissance Italy. Future hopeful projects will continue to study intellectuals and academics moving to and living in early modern Rome, and the positions, jobs, and offices they occupied and negotiated with. I am also fascinated by the historiography of the Italian Renaissance, and how that concept developed. Other interests include historical and contemporary academics practice the crafts of their discipline, and how these disciplines developed over time and in particular social and cultural environments.
Dr Emanuela Vai is Opler Fellow at Worcester College, University of Oxford and Associate Lecturer at Oxford Brookes. Previously, she has held positions at the University of Cambridge, at the Centre for Renaissance and Early Modern Studies (CREMS) University of York, and at the Harvard Centre for Italian Renaissance Studies at Villa I Tatti, where she was Hanna Kiel Fellow. Her research is located at the intersection of art, architectural history and musicology and her publications focus on musical instruments, soundscapes, space and sensorialities in Renaissance social life. Co-author of Reshaping Sacred Space: Liturgy, Patronage and Design in Church Interiors ca. 1500 – 1750 (2015), her first monograph is titled Sensorial Performances in an Early Modern Venetian Town: Art, Music and the Senses at the Confraternity of the Misericordia Maggiore in Bergamo. She is also editing a collection of essays on the material culture of Renaissance music and preparing a book titled Renaissance Music Materialities.
Lindsay Dupertuis has recently completed her Ph.D. in Art History at the University of Maryland. She specializes in early modern Italian art, particularly domestic and decorative arts, and in digital art history. Her current research focuses on the intersection of the decorative arts and literary culture during the fifteenth and sixteenth centuries. Her dissertation project, “Istoriato Maiolica and the Virtues of Reading in Renaissance Urbino and Beyond,” utilizes a large dataset of istoriato maiolica to consider intertextuality, reception, and interpretation among artists and elite consumers alike. More broadly, she is concerned with issues of gender, class, (dis)ability, and vernacular culture in early modern Europe. Currently, Lindsay is working on two articles related to her dissertation research: one on digital methodologies for the study of ceramics, and another on the creative and interpretative aspects of copying made manifest in istoriato maiolica compositions. Lindsay was awarded an Ann G. Wylie Dissertation Completion Fellowship from the University of Maryland for Fall 2020. During the 2018-19 academic year, she was as a Graduate Curatorial Intern in the Dept. of Sculpture and Decorative Arts at the J. Paul Getty Museum. In the past, she has held internships at the National Gallery of Art and the Walters Art Museum.
I am an intellectual and cultural historian of Europe, with special interests in the history of science, scholarship, and religion from the Renaissance through the Enlightenment. I am currently Professor of History at the University of Massachusetts Amherst, and Chair of the History Department. I have previously served as Graduate Program Director and Associate Chair/Scheduling Officer in History, as Co-Director of the Digital Humanities Initiative in the College of Humanities and Fine Arts, and as Director of the university’s Oxford Summer Seminar. I am engaged in several research projects in cultural history and the history of science. I teach Renaissance and early modern European history, history of science, and history of religion.
Dr. Matthew Lincoln is the Collections Information Architect at Carnegie Mellon University Libraries, where he designs infrastructure to make cultural heritage data interoperable and usable by students, researchers, and developers alike. He earned his PhD in Art History at the University of Maryland, College Park, and has held positions at the Getty Research Institute and the National Gallery of Art. He is an editorial board member of The Programming Historian. He has previously worked as a curatorial fellow with the National Gallery of Art in Washington, DC, and as a graduate assistant in the Michelle Smith Collaboratory for Visual Culture in the University of Maryland’s Department of Art History and Archaeology. He has been a recipient of Kress and Getty Foundation grants for their summer institutes in digital art history, and served on the steering committee for the Kress and Getty-funded symposium Art History in Digital Dimensions at the University of Maryland in October 2016. He is a member of the College Art Association’s Student and Emerging Professionals Committee. In addition to conference papers at ADHO’s annual meeting, the College Art Association, and the Renaissance Society of America, his work has appeared in the International Journal for Digital Art History, British Art Studies, and Perspective: Actualité en histoire de l’art. He is also a contributor to The Programming Historian.
Anne Leader is Visiting Fellow at the Institute for Advanced Technology in the Humanities (IATH) at UVA. She received her Ph.D. in the History of Art and Archaeology, with a specialization in Italian Renaissance Art, from the Institute of Fine Arts at New York University in 2000. She was Rush H. Kress Fellow at Villa I Tatti, The Harvard University Center for Italian Renaissance Studies in Florence from 2008 to 2009. She has held teaching positions at the University of New Hampshire, Kean University, The City College of New York, and the Savannah College of Art and Design (Atlanta). Her research and publications explore a range of topics in Italian Renaissance art, architecture, urbanism, and religious tradition, including: Michelangelo’s final project for the Sistine chapel, Benedictine monasticism and artistic patronage, Renaissance workshop practices and artistic authorship, and, most recently, burial practices and tomb monuments including articles on the tomb of Leonardo da Vinci’s father. She is especially interested in sacred art and architecture, specifically in how images and buildings were used by individuals and institutions for devotional practice, doctrinal instruction, and propaganda. She has published articles and reviews in The Burlington Magazine, caa.reviews, Human Evolution, The Journal for the Society of Architectural Historians, The Renaissance Quarterly, Renaissance Studies, Speculum, Studies in Iconography, and the Visual Resources Association Bulletin. Her monograph The Badia of Florence: Art and Observance in a Renaissance Monastery was published by Indiana University Press in 2012. Her edited volumes were published in 2018 by MQUP (Giuliano de’Medici: Machiavelli’s Prince in Life and Art) and MIP (Memorializing the Middle Classes in Medieval and Renaissance Europe). She inaugurated the Italian Art Society’s IASblog in 2013 and served as editor until 2016. As an IATH Visiting Fellow, she is preparing her database of Florentine tombs (ca. 1250-1650) for publication online as an interactive website (http://sepoltuario.iath.virginia.edu/).