I am a Leverhulme Trust Early Career Fellow in the History of Art Department at the University of Warwick (2018-2021). My research focuses on late medieval and early modern art and architecture, particularly the representation of architecture in other media, the intersection between artistic and architectural practice, and the relationship between rhetorical theory and the visual arts. I am currently completing a book entitled “Painting Architecture in Early Renaissance Italy: Innovation and Persuasion at the Intersection of Artistic and Architectural Practice.”
My future research plans are still focused on artistic and architectural innovation and on exchanges across crafts, though I intend to broaden the geographical and chronological scope of my work. The first step towards this new project is an article on the relationship between painting and architecture in early modern India
Before joining Warwick, I was a fellow at The Warburg Institute in London (2017) and taught at the University of York (2014 and 2016) and the Courtauld Institute of Art, London (2018). I also work as a specialist translator of Italian early modern primary sources, contributing translations for exhibitions “Titian: Love, Desire, Death” (National Gallery, London, 2020) and “Michelangelo & Sebastiano” (with Amanda Lillie, National Gallery, London, 2017).
In 2020, I became Newsletter Editor for the Italian Art Society
EducationPhD University of York (2016), AHRC-funded
MA Courtaud Institute of Art, London (2012)
BA University of York (2011)
2017 “The Rhetoric of Fictive Architecture: Copia and Amplificatio in Altichiero da Zevio’s Oratory of St George, Padua.” Architectural History, 60 (2017): 1-35.
2022 “Perspectiva and Prospectiva: Space and the Representation of Architecture in Early Renaissance Italy.” In Perspectives on Early Renaissance Pictorial Space, edited by Niko Munz, Sumihiro Oki and Charley Ladee. Turnhout: Brepols
2021 “La rhétorique du lieu. Art de la mémoire et architecture dans l’Oratoire St-Georges de Padoue.” In La figure et son lieu dans la peinture des Trecento-Quattrocento. Mnémonique et poétique, edited by Anne-Laure Imbert. Paris: Éditions de la Sorbonne (forthcoming).
2018 “Fictive Architecture and Pictorial Place: Altichiero da Zevio’s Oratory of St George in Padua (c.1379-1384).” In Place and Space in the Medieval World, edited by Jane Hawkes, Meg Boulton and Heidi Stoner, 137-148. New York and London: Routledge.
Book Manuscript (near completion)
Painting Architecture in Early Renaissance Italy: Innovation and Persuasion at the Intersection of Artistic and Architectural Practice
2020 Letters by Titian and Orazio Vecellio. In Titian: Love, Desire, Death, exh. cat., 194-195 and 197-203. London: National Gallery Company and Yale University Press.
2018 Angela Sanna, “Lucio Fontana and Futurism after the Second World War,” in International Yearbook of Futurism Studies, ed. by Günter Berghaus, Domenico Pietropaolo and Beatrice Sica, 150-186. De Gruyter.
2017 (with Amanda Lillie) Sebastiano del Piombo’s Letters to Michelangelo, 1518-1531. In Michelangelo & Sebastiano, exh. cat., 225-237. London: National Gallery Company and Yale University Press.
2016 Alessandro Nogarola, La vita della Serenissima Reina Maria d’Austria, Reina d’Ungheria, non meno brievemente che veracemente da un Cavaliere di sua Corte scritta (n.p., 1553), pp. 22-24. Appendix 3 in Cordula van Wyhe, “The Fabric of Female Rule in Leone Leoni’s Statue of Mary of Hungary, c. 1549-1556.” In Cambridge and the Study of Netherlandish Art, edited by Meredith Hale, pp. 135-168. Turnhout: Brepols.
2019 Gerardo de Simone, Il Beato Angelico a Roma (1445-1455). Rinascita delle arti e Umanesimo cristiano nell’Urbe di Niccolò V e Leon Battista Alberti. Florence: Leo Olschki, 2018. The Burlington Magazine, 161, 614-615.
Béla Zsolt Szakács, The Visual World of the Hungarian Angevin Legendary. Budapest and New York: Central European University Press, 2016. Speculum, 94, n. 2, 606-608.
2020 “Curatorial Perspective. Titian: Love, Desire, Death, National Gallery, London, 16 March – 14 June 2020. An interview with Matthias Wivel, Curator of Sixteenth-Century Italian Painting.” Italian Art Society Newsletter, Spring.
2019 “Rhetorical Structures: Architectural Settings in Early Renaissance Italian Painting.” Leverhulme Trust 2018 Annual Review, 50-51.
2017 Exhibition Review: “Giovanni da Rimini: a 14th-Century Masterpiece Unveiled, National Gallery, London, 14 June – 8 October 2017. Italian Art Society Newsletter, Summer.
ProjectsDIGITAL EXHIBITION PROJECT
Painting and Drawing Architecture from Altichiero to Jacopo Bellini
An exhibition tracing the markedly architectural character of painting in Lombardy and the Veneto between the fourteenth and the fifteenth centuries.
A journal exploring artistic process and the dialogue across crafts and media, as well as historiographical reflections on our disciplinary practices as art historians which so often lead us to consider different crafts in isolation.
‘De architectura sacrae aedis Castelleonis.’ Francesco Pizolpasso’s Letter to Cardinal Juan Cervantes on the architecture of Castiglione Olona, 1432.
‘To the Lord Michelangelo, Most Worthy Sculptor.’ A Translation and Critical Edition of Sebastiano del Piombo’s Letters to Michelangelo.
COLLABORATIVE RESEARCH PROJECT
Exploring Fourteenth-Century Art Across the Eastern and Western Christian World
The project explores links between Catholic and Orthodox art during the fourteenth century, re-examining traditional views of both Eastern and Western Christian art and investigating their artistic interchange. In collaboration with Maria Alessia Rossi (Index of Christian Art, Princeton University).
2018 Artistic Encounters: Italy and the Byzantine Empire, 1261-1459, Summer School, Courtauld Institute of Art, London.
2017 Lecture by Donal Cooper (University of Cambridge), “Breaking with Byzantium: Franciscan Artistic Patronage and Piety and Patronage in Central Italy at the Dawn of the Trecento,” University of York (27 Feb)
2016 Lecture by Elena Papastavrou (Ephorate of Antiquities, Pieria, Hellenic Ministry of Culture), “The Virgin Singing the Magnificat, the Virgin Carrying the Divine Word: Symbolism and Signs between Byzantine and Western Art,” Courtauld Institute of Art, London (2 Nov)
Panels Exploring the Fourteenth Century Across the Eastern and Western Christian World, I, II, III, International Medieval Congress, Leeds (4-7 July)
2015 A Severed Bond? Exploring Fourteenth-Century Art Across the Eastern and Western Christian World, The Courtauld Institute of Art, London (15 May)
Upcoming Talks and ConferencesRenaissance Society of America
Session Organiser and Chair
Intersecting Practices: Architecture and the Visual Arts c.1300-c.1700
Architectural structures are often a prominent feature in narrative images. They create striking settings, or are themselves the main subject of representation, from wood inlays to sculpted reliefs, from frescoes to panel and oil paintings, from illuminations and scroll paintings to prints. They engage with the narrative, whilst also providing a narrative of their own, as they testify to the architectural imagination of artists and communicative abilities of architectural forms. Yet, two-dimensional buildings are often discussed only as spatial devices articulating depth, and as lesser counterparts of large-scale three-dimensional structures. This approach hinders our understanding of the structural and ornamental ambition of many two-dimensional buildings, which can present architectural solutions that were adopted only decades later in built structures. It also prevents us from fully recognising the cultural value attached to architectural forms and their rhetorical dimension.
This session at the 2021 meeting of the Renaissance Society of America aims to challenge traditional approaches to the representation of architecture in order to bridge the historiographical gap between art and architectural history. The session intends to shed light on the innovativeness of two-dimensional architecture across a variety of media and to further research on the intersection of artistic and architectural practice.
Péter Bokody (University of Plymouth), “Narrative and Architecture in the Lower Church in Assisi”
Jessica Gritti (Politecnico, Milan), “Performing Ceremonies in Public Spaces: Ephemeral Architecture and Urban Itineraries in Sforza Milan”
Lorenzo Mascheretti (Università Cattolica, Milan), “The Perspectival Panels of the Armadi in the Sacristy of Santa Maria delle Grazie, Milan”
Fragments of Order. Inventing Antiquity between Italy and the Low Countries
Paper Title: “Architecture According to Painters. Reinventing Structure and Ornament in Northern Italian Painting”
This paper explores the architectural imagination of painters and their contribution to architectural innovation. Focussing on Northern Italy and examining material including Jacopo Bellini’s and Mantegna’s work, it argues that the artistic tradition of this region developed a marked architectural character testifying to painters’ active engagement with architectural practice. They suggested bold structural solutions and ornamental combinations whilst at the same time blurring the boundaries between narrative setting and purely architectural representation. Their experimentation forces us to reconsider the terminology with which we identify various kinds of architectural representation, as well as suggesting that artists played a larger role in the development of architectural practice than previously envisaged. Offering a contribution to bridge the historiographical gap between art and architectural history, this paper posits that architecture in painting gives us an insight not only into architectural innovation, but also into the cultural value attached to architectural forms.
MembershipsAssociation for Art History (since 2010)
Italian Art Society (since 2016; currently serving as the editor of the society’s Newsletter)
Renaissance Society of America (since 2016)
Society of Architectural Historians of Great Britain (since 2019)
International Centre of Medieval Art (since 2020)