Cristina Guarnieri
CRISTINA GUARNIERI CURRICULUM VITAE
cristina.guarnieri@unipd.it
Education
- Ph.D., University of Udine (2003)
- MA Storia dell’Arte medievale e moderna, University of Udine (2000)
- BA Conservazione dei Beni Culturali, University of Udine (1995)
Professional Appointments
- 2007-2017 Part-time teacher, History of Medieval Art, University of Padua
- 2007-2017 Lecturer, University of Padua
Selected Publications
Books
- Cristina Guarnieri, Lorenzo Veneziano, Silvana Editoriale, Cinisello Balsamo, 2006
Peer-reviewed articles
- Cristina Guarnieri, “Per un corpus della pittura veneziana del Trecento al tempo di Lorenzo”, Saggi e memorie di Storia dell’Arte, no. 30 (2008): 1-131.
- Cristina Guarnieri, “Indagini sulla lavorazione dell’oro come contributo per lo studio della pittura veneziana delle origini”, Rabeschi d’oro. Pittura e oreficeria a Venezia in età gotica, in “Arte Veneta”, 2015 (2014), 71 (special issue), ed. by C. Guarnieri, A. De Marchi: 36-61.
Book Chapters
- Cristina Guarnieri,“Grixopulus parmensis e la decorazione di Palazzo della Ragione a Mantova”, Sotto la superficie visibile. Scritti in onore di Franco Bernabei, M. Nezzo and G. Tomasella eds, Canova, Treviso, 2013: 223-234.
- Cristina Guarnieri,“La cappella gentilizia e le altre decorazioni trecentesche nel Palazzo Ducale di Mantova al tempo dei Gonzaga”, Arte di corte in Italia del Nord. Programmi, modelli, artisti (1330-1402 ca.), S. Romano and D. Zaru eds, Viella, Roma, 2013: 63-96.
Selected Conferences
- “Medieval Venice through the Eyes of Teodoro Correr”, The 19th Biennal New College Conference on Medieval and Renaissance Studies”, Sarasota, Florida, March 2014
- “La lunetta di Paolo Veneziano e la tomba di Francesco Dandolo nella sala del Capitolo”, International Conference “La chiesa di Santa Maria Gloriosa dei Frari di Venezia. Immagini di devozione e spazi di fede”, Venezia, Basilica dei Frari, May 2013
- 26-28 marzo 2015: International Conference “The Sixty-First Annual Meeting of the Renaissance Society of America”, Berlin. Title: “Sacred and Profane Objects in Venetian Dwelling”.
Invited Talks
- “La pala d’altare nel Medioevo: Paolo e Lorenzo Veneziano”, Invited lecture, Ecole du Louvre, Palais du Louvre, Istituto Veneto di Scienze, Lettere ed Arti, Venice, July 2012
- “Lorenzo Veneziano e la sua bottega”, Venezia, Palazzo Pesaro Papafava, University of Warwick (Summer School Warwick in Venice), July 2010
Languages
Italian, English
cristina.guarnieri@unipd.it
Education
- Ph.D., University of Udine (2003)
- MA Storia dell’Arte medievale e moderna, University of Udine (2000)
- BA Conservazione dei Beni Culturali, University of Udine (1995)
Professional Appointments
- 2007-2017 Part-time teacher, History of Medieval Art, University of Padua
- 2007-2017 Lecturer, University of Padua
Selected Publications
Books
- Cristina Guarnieri, Lorenzo Veneziano, Silvana Editoriale, Cinisello Balsamo, 2006
Peer-reviewed articles
- Cristina Guarnieri, “Per un corpus della pittura veneziana del Trecento al tempo di Lorenzo”, Saggi e memorie di Storia dell’Arte, no. 30 (2008): 1-131.
- Cristina Guarnieri, “Indagini sulla lavorazione dell’oro come contributo per lo studio della pittura veneziana delle origini”, Rabeschi d’oro. Pittura e oreficeria a Venezia in età gotica, in “Arte Veneta”, 2015 (2014), 71 (special issue), ed. by C. Guarnieri, A. De Marchi: 36-61.
Book Chapters
- Cristina Guarnieri,“Grixopulus parmensis e la decorazione di Palazzo della Ragione a Mantova”, Sotto la superficie visibile. Scritti in onore di Franco Bernabei, M. Nezzo and G. Tomasella eds, Canova, Treviso, 2013: 223-234.
- Cristina Guarnieri,“La cappella gentilizia e le altre decorazioni trecentesche nel Palazzo Ducale di Mantova al tempo dei Gonzaga”, Arte di corte in Italia del Nord. Programmi, modelli, artisti (1330-1402 ca.), S. Romano and D. Zaru eds, Viella, Roma, 2013: 63-96.
Selected Conferences
- “Medieval Venice through the Eyes of Teodoro Correr”, The 19th Biennal New College Conference on Medieval and Renaissance Studies”, Sarasota, Florida, March 2014
- “La lunetta di Paolo Veneziano e la tomba di Francesco Dandolo nella sala del Capitolo”, International Conference “La chiesa di Santa Maria Gloriosa dei Frari di Venezia. Immagini di devozione e spazi di fede”, Venezia, Basilica dei Frari, May 2013
- 26-28 marzo 2015: International Conference “The Sixty-First Annual Meeting of the Renaissance Society of America”, Berlin. Title: “Sacred and Profane Objects in Venetian Dwelling”.
Invited Talks
- “La pala d’altare nel Medioevo: Paolo e Lorenzo Veneziano”, Invited lecture, Ecole du Louvre, Palais du Louvre, Istituto Veneto di Scienze, Lettere ed Arti, Venice, July 2012
- “Lorenzo Veneziano e la sua bottega”, Venezia, Palazzo Pesaro Papafava, University of Warwick (Summer School Warwick in Venice), July 2010
Languages
Italian, English
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Peer-reviewed articles by Cristina Guarnieri
This paper therefore intends to highlight the real function of this fundamental work of Jacobello’s career, while at the same time suggesting that in the Venetian territory many other objects of this kind were circulating.
Il ciclo del Maestro del Coro viene in questa sede considerato all’interno della problematica della costruzione e della cronologia della parte absidale della cappella, ovvero in stretta correlazione con il suo arredo scultoreo e il suo utilizzo in funzione sepolcrale.
Book Chapters by Cristina Guarnieri
Stato in the Napoleonic period, after the Franciscan friary had been suppressed.
The structure of the monument – consisting of an arched recess, a painted lunette and a sarcophagus decorated with sculptural reliefs – adopts the typology of the wall-tomb with figural lunette established in Venice in the second half of the thirteenth century. This multi-media tomb presents many new aspects (among which, for instance, the insertion of a painted panel into the space of the recess); yet at the same time, it reveals contradictory elements which seem to suggest interventions of different dates in the overall structure. Indeed, the painted icon, a masterpiece of the maturity of Paolo Veneziano showing Saints Francis and Elizabeth presenting the doge and dogaressa to the Virgin, is datable to 1339-40, that is to say, very soon after the death of the doge. It fulfils the wishes of his testament, which provided for the fitting out of the tomb, and named his wife Elisabetta as one of his executors. By contrast, the sarcophagus, with its bas-relief scene of the Dormition of the Virgin, two angels on the corners, and symbols of the evangelists Mark and John on the ends, reveals a more archaic figural language, which cannot be dated later than the second decade of the century. Thus the stone casket is not the work of a rather old-fashioned workshop, as suggested in the literature, but in reality an example of re-use by patrons who still considered it – especially in
terms of the subject matter – perfectly adequate for its function and appropriate to the message which the ducal family and the friars wished to communicate.
This paper therefore intends to highlight the real function of this fundamental work of Jacobello’s career, while at the same time suggesting that in the Venetian territory many other objects of this kind were circulating.
Il ciclo del Maestro del Coro viene in questa sede considerato all’interno della problematica della costruzione e della cronologia della parte absidale della cappella, ovvero in stretta correlazione con il suo arredo scultoreo e il suo utilizzo in funzione sepolcrale.
Stato in the Napoleonic period, after the Franciscan friary had been suppressed.
The structure of the monument – consisting of an arched recess, a painted lunette and a sarcophagus decorated with sculptural reliefs – adopts the typology of the wall-tomb with figural lunette established in Venice in the second half of the thirteenth century. This multi-media tomb presents many new aspects (among which, for instance, the insertion of a painted panel into the space of the recess); yet at the same time, it reveals contradictory elements which seem to suggest interventions of different dates in the overall structure. Indeed, the painted icon, a masterpiece of the maturity of Paolo Veneziano showing Saints Francis and Elizabeth presenting the doge and dogaressa to the Virgin, is datable to 1339-40, that is to say, very soon after the death of the doge. It fulfils the wishes of his testament, which provided for the fitting out of the tomb, and named his wife Elisabetta as one of his executors. By contrast, the sarcophagus, with its bas-relief scene of the Dormition of the Virgin, two angels on the corners, and symbols of the evangelists Mark and John on the ends, reveals a more archaic figural language, which cannot be dated later than the second decade of the century. Thus the stone casket is not the work of a rather old-fashioned workshop, as suggested in the literature, but in reality an example of re-use by patrons who still considered it – especially in
terms of the subject matter – perfectly adequate for its function and appropriate to the message which the ducal family and the friars wished to communicate.
Addetto alla segreteria.