Rebecca Amendola
Rebecca Amendola ha compiuto gli studi presso “La Sapienza” Università di Roma, dove nel 2017 ha conseguito con lode la laurea triennale in Studi Storico-Artistici con una tesi in Storia dell'Arte Bizantina dal titolo: "La Dormizione di sant'Efrem: un'icona postbizantina in Vaticano" (relatore prof. Antonio Iacobini). Nel 2021 ha poi conseguito con lode la laurea magistrale in Storia dell'Arte Bizantina con una tesi dal titolo: "La Celebrazione del Logos. Testo e immagine nel Tetravangelo greco della Biblioteca Palatina di Parma (Ms. Pal. 5)", (relatore prof. Antonio Iacobini, correlatrice prof.ssa Livia Bevilacqua), che le è valsa il premio per la migliore tesi di laurea magistrale in storia della miniatura (II Edizione - 2021) indetto dalla Società Internazionale di Storia della Miniatura.
Nel corso della sua formazione è stata assegnataria di borse di collaborazione presso la Biblioteca Giulio Carlo Argan (a.a. 2017/2018); la Biblioteca di Scienze dell’Antichità, sezione Archeologia (a.a. 2018/2019) e la Segreteria Didattica del dipartimento SARAS (a.a. 2019/2020). Nel 2019 ha svolto un tirocinio formativo presso la Soprintendenza Archeologica, Belle arti e Paesaggio per le provincie di Frosinone, Latina e Rieti (a.a. 2018/2019).
Nell’ottobre 2021 è vincitrice borsista del XXXVII ciclo del Dottorato di Ricerca in Storia dell’Arte, con un progetto sulla committenza aristocratica della prima età paleologa dal titolo: "Tra due capitali. Arte e committenza aristocratica a Costantinopoli e Tessalonica nella prima età dei Paleologi (1261-1350 Ca.)".
È cultrice della materia in Storia dell’Arte Bizantina (L-ART/01) per l’a.a. 2021/2022 presso “La Sapienza” Università di Roma.
Rebecca Amendola obtained her BA (cum laude) from “La Sapienza” – University of Rome with a thesis in Byzantine Art History entitled: “Scenes from the Life and Death of St. Ephraim Syrus by Emanuel Zanfurnaris: a Post-byzantine Icon in the Vatican Museums" (supervisor: Professor Antonio Iacobini). In 2021 She completed her MA (cum laude) at “La Sapienza” with a thesis in Byzantine Art History entitled: “Celebrating the Logos: Text and Images in the Parma Gospel Book (Ms. Pal. 5)” (supervisor: Professor Antonio Iacobini, co-supervisor Professor Livia Bevilacqua). In November 2021, her master’s thesis was awarded by the International Society of History of Book Illumination as the best master’s thesis on illustration and decoration of manuscripts and incunabula, discussed in a.a. 2018/2019, a.a. 2019/2020 and in the first session of 2020/2021.
During her formation, Rebecca was awarded three scholarships to work as a student collaborator with the Giulio Carlo Argan Library (a.a. 2017/2018); the Archaeology Library of the Department of Antiquities studies (a.a. 2018/2019); and the Secretary's Office of the Department of History, Anthropology, Religions, Art History, Media and Performing Arts (a.a. 2019/2020). In 2019 she did internship at the Archaeological, Fine Arts and Landscape Government Department responsible for the Provinces of Frosinone, Latina and Rieti.
Since October 2021 she is a PhD candidate in History of Art. Her doctoral research will focus on aristocratic patronage in Constantinople and Thessaloniki during the early Palaiologan period (1261-1350 ca.).
She is a Subject Expert in Byzantine Art History (a.a. 2021/2022) at “La Sapienza” – University of Rome.
Nel corso della sua formazione è stata assegnataria di borse di collaborazione presso la Biblioteca Giulio Carlo Argan (a.a. 2017/2018); la Biblioteca di Scienze dell’Antichità, sezione Archeologia (a.a. 2018/2019) e la Segreteria Didattica del dipartimento SARAS (a.a. 2019/2020). Nel 2019 ha svolto un tirocinio formativo presso la Soprintendenza Archeologica, Belle arti e Paesaggio per le provincie di Frosinone, Latina e Rieti (a.a. 2018/2019).
Nell’ottobre 2021 è vincitrice borsista del XXXVII ciclo del Dottorato di Ricerca in Storia dell’Arte, con un progetto sulla committenza aristocratica della prima età paleologa dal titolo: "Tra due capitali. Arte e committenza aristocratica a Costantinopoli e Tessalonica nella prima età dei Paleologi (1261-1350 Ca.)".
È cultrice della materia in Storia dell’Arte Bizantina (L-ART/01) per l’a.a. 2021/2022 presso “La Sapienza” Università di Roma.
Rebecca Amendola obtained her BA (cum laude) from “La Sapienza” – University of Rome with a thesis in Byzantine Art History entitled: “Scenes from the Life and Death of St. Ephraim Syrus by Emanuel Zanfurnaris: a Post-byzantine Icon in the Vatican Museums" (supervisor: Professor Antonio Iacobini). In 2021 She completed her MA (cum laude) at “La Sapienza” with a thesis in Byzantine Art History entitled: “Celebrating the Logos: Text and Images in the Parma Gospel Book (Ms. Pal. 5)” (supervisor: Professor Antonio Iacobini, co-supervisor Professor Livia Bevilacqua). In November 2021, her master’s thesis was awarded by the International Society of History of Book Illumination as the best master’s thesis on illustration and decoration of manuscripts and incunabula, discussed in a.a. 2018/2019, a.a. 2019/2020 and in the first session of 2020/2021.
During her formation, Rebecca was awarded three scholarships to work as a student collaborator with the Giulio Carlo Argan Library (a.a. 2017/2018); the Archaeology Library of the Department of Antiquities studies (a.a. 2018/2019); and the Secretary's Office of the Department of History, Anthropology, Religions, Art History, Media and Performing Arts (a.a. 2019/2020). In 2019 she did internship at the Archaeological, Fine Arts and Landscape Government Department responsible for the Provinces of Frosinone, Latina and Rieti.
Since October 2021 she is a PhD candidate in History of Art. Her doctoral research will focus on aristocratic patronage in Constantinople and Thessaloniki during the early Palaiologan period (1261-1350 ca.).
She is a Subject Expert in Byzantine Art History (a.a. 2021/2022) at “La Sapienza” – University of Rome.
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PhD Thesis by Rebecca Amendola
Parma Gospels (Ms. Pal. 5) – an extraordinary example
of Constantinopolitan book production of the
second half of the 11th century – specifically focusing
on the headpiece representing the Maiestas Domini (f.
5r) and on the Christological scenes (ff. 91v-92v). The
iconographic analysis allows proposing a new hypothesis
on the original context in which the manuscript was conceived
and produced. The emphasis placed on St. Peter
seems to indicate that the manuscript was made for a
Constantinopolitan foundation dedicated to this saint:
perhaps the St. Peter oratory, directly connected to Hagia
Sophia. This hypothesis seems to be confirmed by the
relevance given to the imperial portraits, which represent
Constantine with his mother Helen. Additionally, the
oldest ownership note mentions Michael Autoreianos,
chartophylax of Hagia Sophia between 1199 and 1208, as
the earliest known owner of the manuscript.
Papers by Rebecca Amendola
It welcomes essays and research papers which investigate the illustration and decoration in manuscripts, the relationship between text, images and support, the comparison with other cultural and artistic manifestations, also in a multidisciplinary perspective. It has columns dedicated to reviews, electronic resources, restorations, and exhibitions.
Rivista di Storia della Miniatura, 26
2022, 260 pp.
Paperback, 21,5 x 28,5 cm
ISBN: 9788891327680
eBook Format: PDF ISBN: 9788891327703
ISSN: 1126-4772
E-ISSN: 2785-4019
Parma Gospels (Ms. Pal. 5) – an extraordinary example
of Constantinopolitan book production of the
second half of the 11th century – specifically focusing
on the headpiece representing the Maiestas Domini (f.
5r) and on the Christological scenes (ff. 91v-92v). The
iconographic analysis allows proposing a new hypothesis
on the original context in which the manuscript was conceived
and produced. The emphasis placed on St. Peter
seems to indicate that the manuscript was made for a
Constantinopolitan foundation dedicated to this saint:
perhaps the St. Peter oratory, directly connected to Hagia
Sophia. This hypothesis seems to be confirmed by the
relevance given to the imperial portraits, which represent
Constantine with his mother Helen. Additionally, the
oldest ownership note mentions Michael Autoreianos,
chartophylax of Hagia Sophia between 1199 and 1208, as
the earliest known owner of the manuscript.
It welcomes essays and research papers which investigate the illustration and decoration in manuscripts, the relationship between text, images and support, the comparison with other cultural and artistic manifestations, also in a multidisciplinary perspective. It has columns dedicated to reviews, electronic resources, restorations, and exhibitions.
Rivista di Storia della Miniatura, 26
2022, 260 pp.
Paperback, 21,5 x 28,5 cm
ISBN: 9788891327680
eBook Format: PDF ISBN: 9788891327703
ISSN: 1126-4772
E-ISSN: 2785-4019