- The Open University, Art History, Faculty Memberadd
- Art History, Reception of Antiquity, Renaissance Rome, Italian Renaissance, Patronage, Renaissance Sculpture, and 8 moreDigital Humanities, Gender, Global Art History, Globalization, Digital Art History, Collecting and Collections, History of Collections (Archaeology), and Antique Art and Sculptureedit
This collection investigates the wide array of local antiquarian practices that developed across Europe in the early modern era, c. 1400-1700. Breaking new ground, it explores local concepts of antiquity in a period that has been defined... more
This collection investigates the wide array of local antiquarian practices that developed across Europe in the early modern era, c. 1400-1700. Breaking new ground, it explores local concepts of antiquity in a period that has been defined as a uniform 'Renaissance'. Contributors take a novel approach to the revival of the antique in different parts of Italy, as well as examining other, less widely studied antiquarian traditions in France, the Netherlands, Spain, Portugal, Britain and Poland. They consider how real or fictive ruins, inscriptions and literary works were used to demonstrate a particular idea of local origins, to rewrite history or to vaunt civic pride. In doing so, they tackle such varied subjects as municipal antiquities collections in Southern Italy and France, the antiquarian response to the pagan, Christian and Islamic past on the Iberian Peninsula, and Netherlandish interest in megalithic ruins thought to be traces of a prehistoric race of Giants.
Research Interests: Art History, Renaissance Studies, Renaissance Humanism, Polish History, Archaeology of Southern Italy, and 8 moreHistory of The Netherlands, Renaissance literature, Renaissance Rome, Antiquarianism, Renaissance antiquarianism, History of Collecting and Antiquarianism, Literatura Portuguesa, and French Art - Antiquarianism - Classical Tradition
Traditionally, the Renaissance has been understood as a strictly Western phenomenon, a period of cultural and technological ‘advancement’ inspired by humanism and antique revival. European art and the wider world 1350–1550 takes a... more
Traditionally, the Renaissance has been understood as a strictly Western phenomenon, a period of cultural and technological ‘advancement’ inspired by humanism and antique revival. European art and the wider world 1350–1550 takes a different approach. Informed by the latest scholarship in the field of art history, it explores the significance of the movement of knowledge, ideas and objects for the visual culture of Europe, against the backdrop of a global competition for power and resources.
The book investigates famous works of art from a new perspective, taking account of the complex relationships that bound Europe together with Asia, America and Africa. It also considers lesser-known objects such as ceramics, textiles and featherwork which were widely imported into Europe. Considering a range of geographical contexts from Spain to India, it explores European visual culture in the light of trade, colonisation, conversion and cultural exchange. Individual chapters examine the altarpiece in a global context; cultural encounters on the Iberian Peninsula and in the Americas; European collections of non-European objects; and Venice’s engagement with the Islamic Ottoman Empire and Mamluk Sultanate.
European art and the wider world is the first textbook to consider the Renaissance in the context of global art history. It will appeal to undergraduate art history students as well as a general readership eager to look at canonical works from a new perspective.
The book investigates famous works of art from a new perspective, taking account of the complex relationships that bound Europe together with Asia, America and Africa. It also considers lesser-known objects such as ceramics, textiles and featherwork which were widely imported into Europe. Considering a range of geographical contexts from Spain to India, it explores European visual culture in the light of trade, colonisation, conversion and cultural exchange. Individual chapters examine the altarpiece in a global context; cultural encounters on the Iberian Peninsula and in the Americas; European collections of non-European objects; and Venice’s engagement with the Islamic Ottoman Empire and Mamluk Sultanate.
European art and the wider world is the first textbook to consider the Renaissance in the context of global art history. It will appeal to undergraduate art history students as well as a general readership eager to look at canonical works from a new perspective.
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This essay considers the political, aesthetic and geographical orientations that marked the formation of the Farnese collections during the sixteenth century. In the space of a few generations, the Farnese accumulated extraordinary... more
This essay considers the political, aesthetic and geographical orientations that marked the formation of the Farnese collections during the sixteenth century.
In the space of a few generations, the Farnese accumulated extraordinary power, exploiting their access to the papacy and to the courts of the Hapsburgs and the royal family of Portugal. They built up exceptional collections of art in Rome, the duchy of Parma and Piacenza, Caprarola and the Netherlands, which combine antiquities, paintings from various European schools, objects in rock crystal, 'rarites' and objects from Asia, Africa and the Americas.
As this essay discusses, one of the themes that stands out in the richness and variety of the Farnese collections is that of empire: not only the idea of a reborn Roman empire, but also links with the greatest empire-builders of the 16th century, the courts of the Habsburgs and the Portuguese crown.
In the space of a few generations, the Farnese accumulated extraordinary power, exploiting their access to the papacy and to the courts of the Hapsburgs and the royal family of Portugal. They built up exceptional collections of art in Rome, the duchy of Parma and Piacenza, Caprarola and the Netherlands, which combine antiquities, paintings from various European schools, objects in rock crystal, 'rarites' and objects from Asia, Africa and the Americas.
As this essay discusses, one of the themes that stands out in the richness and variety of the Farnese collections is that of empire: not only the idea of a reborn Roman empire, but also links with the greatest empire-builders of the 16th century, the courts of the Habsburgs and the Portuguese crown.
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An assessment of the Roman notebook of the French jurist Claude de Bellièvre as an insight to viewing practices and the combination of viewing and note-taking in Renaissance Rome.
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This article traces the development of restauratio, the practice of piecing together of fragile, broken objects, as an alternative antiquarian practice to translatio, the movement of large and heavy objects from one place to another. It... more
This article traces the development of restauratio, the practice of piecing together of fragile, broken objects, as an alternative antiquarian practice to translatio, the movement of large and heavy objects from one place to another. It considers how restauratio developed in a close relationship with the recovery of antique literary works. At a time when humanists sought to rescue and repair ancient texts that they described as broken and mutilated bodies, buried in libraries, the restoration of antique sculptures (through excavation, rediscovery and the reattachment of missing pieces) took on similar cultural meaning. This essay explores the relationship between concepts of restoration and translation in the context of the word-image dynamic in Renaissance Rome.
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Research Interests: Italian Renaissance Art, Renaissance Rome, Reception of Antiquity, Renaissance/Baroque Art History, Urbanism of Rome, and 6 moreEarly Modern Italian art and architecture, Early modern Rome, Papal History, Renaissance Antiquities Collections, The Reception of Classical Antiquity, and Collections of Antique Sculpture in the Italian Renaissance
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This collection investigates the wide array of local antiquarian practices that developed across Europe in the early modern era. Breaking new ground, it explores local concepts of antiquity in a period that has been defined as a uniform... more
This collection investigates the wide array of local antiquarian practices that developed across Europe in the early modern era. Breaking new ground, it explores local concepts of antiquity in a period that has been defined as a uniform 'Renaissance'. Contributors take a novel approach to the revival of the antique in different parts of Italy, as well as examining other, less widely studied antiquarian traditions in France, the Netherlands, Spain, Portugal, Britain and Poland. They consider how real or fictive ruins, inscriptions and literary works were used to demonstrate a particular idea of local origins, to rewrite history or to vaunt civic pride. In doing so, they tackle such varied subjects as municipal antiquities collections in Southern Italy and France, the antiquarian response to the pagan, Christian and Islamic past on the Iberian Peninsula, and Netherlandish interest in megalithic ruins thought to be traces of a prehistoric race of Giants.
Research Interests: Early Modern History, Renaissance Studies, Renaissance Humanism, Classical Reception Studies, Antiquarianism, and 6 moreRenaissance antiquarianism, Reception of Antiquity, Renaissance/Baroque Art History, Early Modern Art and Visual Culture, Renaissance Archaeology, and Renaissance rediscovery of classical antiquity
In: Local antiquities, local identities: Art, literature and antiquarianism in Europe, c. 1400–1700, ed. by K. Christian and B. de Divitiis, 2018, pp. 57-78.
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In: Newall, D. (ed.) Art and its global histories: a reader, Manchester University Press, 2017, pp. 50-112. This section of the reader, published in conjunction with the Open University module Art and its global histories, includes... more
In: Newall, D. (ed.) Art and its global histories: a reader, Manchester University Press, 2017, pp. 50-112.
This section of the reader, published in conjunction with the Open University module Art and its global histories, includes primary texts and four critical essays related to the global history of art in the period 1350-1550.
This section of the reader, published in conjunction with the Open University module Art and its global histories, includes primary texts and four critical essays related to the global history of art in the period 1350-1550.
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In: The Companions to the History of Architecture, Volume I, Renaissance and Baroque Architecture. Edited by Alina Payne. 2017.
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In: Marcantonio Raimondi, Raphael and the Image Multiplied (exhibition catalogue), ed. by. E. H. Wouk. Manchester, Manchester University Press, 2016, pp. 66-83.
Marcantonio Raimondis so-called Caryatid Façade has received scant attention, yet it occupies an important place in the printmakers oeuvre and was widely admired and imitated in the sixteenth century. The image, which features an... more
Marcantonio Raimondis so-called Caryatid Façade has received scant attention, yet it occupies an important place in the printmakers oeuvre and was widely admired and imitated in the sixteenth century. The image, which features an architectural façade adorned with Caryatid and Persian porticoes and an oversized female capital, does not fit easily with the usual narrative about Raimondis career in Rome, summed up in Vasaris account that he collaborated with Raphael to publicise the masters storie. Rather than being an illustration of a religious or mythological subject, it brings together architectural fantasia, archaeology and Vitruvian studies, reflecting on the origins of the orders and the nature of architectural ornament. Arguably, it is also an indirect trace of Raphaels unfinished projects to reconstruct Rome and to collaborate with humanist Fabio Calvo and others on a new, illustrated edition of Vitruvius.
In: Settis, Salvatore; Anguissola, A. and Gasparotto, D. (eds.): Serial / Portable Classic. The Greek Canon and its Mutations. Milan: Fondazione Prada. 2015. pp. 153-160.
Research Interests: Renaissance Art, Portraiture, History of Collections, Italian Renaissance Art, Collecting and Collections, and 11 moreStudiolo, Italian Renaissance, the classical tradition; the social and cultural history of early modern Europe; women and learning 1300-1800; and the history of childhood from antiquity to the present, Venice, History of Venice, Hampton Court Palace, Antiquities, Lorenzo Lotto, Renaissance Portraiture, Renaissance art in Venice, History of Luxury, and Andrea Odoni
In: The Muses and their Afterlife in post-Classical Europe, ed. by C. Wedepohl, K. Christian and C. Guest, Warburg Institute Colloquia Series. 2014, pp. 103-154
In: The Cambridge Companion to the Italian Renaissance, ed. by M. Wyatt, Cambridge University Press, 2014, pp. 40–58.
In: L Waldman and M Israëls (eds.) (2013): Renaissance Studies in Honor of Joseph Connors, Villa I Tatti Series 29, Harvard University Press, vol. 1: pp. 591-6 and 948-50.
In: Rom zeichnen : Maarten van Heemskerck 1532 - 1536/37, ed. by Tatjana Bartsch and Peter Seiler, 2012.
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The first book to be dedicated to the topic, Patronage and Italian Renaissance Sculpture reappraises the creative and intellectual roles of sculptor and patron. The volume surveys artistic production from the Trecento to the Cinquecento... more
The first book to be dedicated to the topic, Patronage and Italian Renaissance Sculpture reappraises the creative and intellectual roles of sculptor and patron. The volume surveys artistic production from the Trecento to the Cinquecento in Rome, Pisa, Florence, Bologna, and Venice. Using a broad range of approaches, the essayists question the traditional concept of authorship in Italian Renaissance sculpture, setting each work of art into a complex socio-historical context. Emphasizing the role of the patron, the collection re-assesses the artistic production of such luminaries as Michelangelo, Donatello, and Giambologna, as well as lesser-known sculptors. Contributors shed new light on the collaborations that shaped Renaissance sculpture and its reception.
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In: Harvard Encyclopedia of the Classical Tradition, ed. Anthony Grafton, Glenn W. Most, and Salvatore Settis (Cambridge, MA: Harvard University Press, 2010), 155-6.
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In: Conan, Michel (ed.) (2008): Gardens and Imagination: Cultural History and Agency. Dumbarton Oaks Colloquium Series in the History of Landscape Architecture (30). Washington DC: Dumbarton Oaks Research Library and Collection... more
In: Conan, Michel (ed.) (2008): Gardens and Imagination: Cultural History and Agency. Dumbarton Oaks Colloquium Series in the History of Landscape Architecture (30). Washington DC: Dumbarton Oaks Research Library and Collection (Distributed by Harvard University Press), pp. 116–137.
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In: Collecting sculpture in early modern Europe , ed. by Nicholas Penny and Eike D. Schmidt, 2008.
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In: Proceedings of the XVith Intrnational Congress of Classical Arachaeology, ed. by C. Mattusch, Common Ground Archaeology, Art Science and Humanities, 2006, pp. 252 255.
In: Aeolian Winds and the Spirit in Renaissance Architecture, Academia Eolia Revisited, Edited by Barbara Kenda, 2006.
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In: Senso delle rovine e riusi dell’Antico, ed. Salvatore Settis, Annali della Scuola Normale Superiore di Pisa. Serie IV, Quaderni 14, Classe di Lettere e Filosofia (2002), 255-72
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In: Coming About ... A Festschrift for John Shearman, edited by Lars Jones and Louisa C. Matthew. Cambridge, MA: Harvard University Art Museums, 2001, pp. 33-40.
https://warburg.sas.ac.uk/events/work-progress-census-antique-works-art-and-architecture-known-renaissance-1946-2021-online
Warburg Institute Work in Progress seminar
Warburg Institute Work in Progress seminar
De la restauration comme fabrique des origines, Université de Genève
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Sculpter à la Renaissance: un art pour (é)mouvoir, Musée du Louvre
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Ligorio Digitale: Idee e prospettive per un'edizione digitale dei manoscritti di Pirro Ligorio
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Raffael 500: Perspektiven, Zentralinstitut für Kunstgeschichte, München
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A paper exploring the overlap between building sites, archaeological sites and collections and the significance of these spaces in the education of the architect.
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Aux XVe et XVIe siècles, l’idéal esthétique et son expression redeviennent un problème central, abordé selon des critères inédits. La pensée théorique relative à l’idéal et à la beauté, depuis Léon Battista Alberti jusqu’à Giordano Bruno,... more
Aux XVe et XVIe siècles, l’idéal esthétique et son expression redeviennent un problème central, abordé selon des critères inédits. La pensée théorique relative à l’idéal et à la beauté, depuis Léon Battista Alberti jusqu’à Giordano Bruno, est enracinée dans des perspectives culturelles qui varient selon l’environnement géographique, politique et social. La perception d’un même phénomène est susceptible d’être influencée par la culture de l’observateur et par certains états psychologiques, comme l’extase religieuse. Parallèlement à la notion d’« idéal absolu », qu’il soit défini de manière rationnelle, par exemple par des proportions arithmétiques, ou conçu comme inaccessible à la condition humaine, va également émerger l’idée que la forme idéale présumée entretient nécessairement un dialogue bilatéral et continu avec des critères culturels préexistants, introduisant par là même l’idée d’une relativité. Certains concepts idéaux gagnent les ateliers et les artistes cherchent à les concilier avec leurs matériaux et leurs techniques. De surcroît, la période devient de plus en plus consciente que la perception des formes idéales, au lieu de fonctionner selon un processus simple, dépend de l’interaction complexe de différentes composantes. Les modalités optiques et de perception, permettant d’apprécier l’idéal et la beauté de manière adéquate, bénéficient d’un approfondissement extraordinaire. Dans le cadre d’une telle approche, embrassant à la fois les objets et les processus optiques et de perception, la question de l’idéal et de la beauté pendant la Renaissance n’a pas encore été suffisamment examinée. C’est selon cet angle d’attaque que le colloque se propose d’approcher une série de questions qui se sont distinguées jusqu’à maintenant dans le débat scientifique – débat qui n’a d’ailleurs pas approfondi de manière satisfaisante les dynamismes réciproques entre les différents genres. Les contributions chercheront à examiner l’histoire des savoirs et des sciences relative aux idéaux et aux idées concernant la beauté, afin de mieux comprendre les défis auxquels la recherche est confrontée encore aujourd’hui.
This event is generously supported by the Marie Curie Fellowship, John Fell Fund, the Zilkha Fund and the Craven Committee. Throughout history and across cultures people have set up statues in public spaces-to honour rulers, to reward... more
This event is generously supported by the Marie Curie Fellowship, John Fell Fund, the Zilkha Fund and the Craven Committee. Throughout history and across cultures people have set up statues in public spaces-to honour rulers, to reward benefactors, to worship gods and goddesses or simply to admire. This conference brings together leading historians, art historians and archaeologists to discuss the role played by public statues in historical cultures ranging from ancient China to modern Renaissance Rome, from Palmyra to Georgian England. Key issues to be explored include the ways in which the setting of public statues contributed to their meaning, the ways that audiences responded to public statues and what contemporary discourses reveal about the role of statues in society. Looking at public statues as a widespread historical phenomenon should suggest new perspectives for considering the specific case studies considered and will generate discussion concerning shared problems of evidence and methodology in approaching the subject. The event is open to anybody with an interest in sculpture, public space or comparative history.
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Throughout history and across cultures people have set up statues in public spaces-to honour rulers, to reward benefactors, to worship gods and goddesses or simply to admire. This conference brings together leading historians, art... more
Throughout history and across cultures people have set up statues in public spaces-to honour rulers, to reward benefactors, to worship gods and goddesses or simply to admire. This conference brings together leading historians, art historians and archaeologists to discuss the role played by public statues in historical cultures ranging from ancient China to modern Turkey, from Palmyra to Georgian England. Key issues to be explored include the ways in which the setting of public statues contributed to their meaning, the ways that audiences responded to public statues and what contemporary discourses reveal about the role of statues in society. Looking at public statues as a widespread historical phenomenon should suggest new perspectives for considering the specific case studies considered and will generate discussion concerning shared problems of evidence and methodology in approaching the subject. The event is open to anybody with an interest in sculpture, public space or comparative history. Attendance costs £7.50 per day. Lunch costs £13.50 per day. Please register using the online store:
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Individual artists have been the traditional focus of art history, but how do we evaluate the figure of the artist? This free course, Artists and authorship: the case of Raphael, takes the life of Raphael as a case study. You will examine... more
Individual artists have been the traditional focus of art history, but how do we evaluate the figure of the artist? This free course, Artists and authorship: the case of Raphael, takes the life of Raphael as a case study. You will examine sixteenth-century sources to explore the creation of artistic authorship in the early modern era. The course explores past and current approaches to the artist in terms of authorship, identity and subjectivity. You will consider issues such as the relationship between the artist's life and work, the enduring notion of 'genius' and the artist as a source of meaning.
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Journey around the world in this Open University interactive website to discover how 'objects' aren't just merely beautiful art works but can also reveal fascinating histories and global connections.