Participants

Alessandra Russo is Associate Professor in the Department of Latin American and Iberian Cultures of Columbia University. She studies the theory, practice and display of the arts in the Early Modern times. She has been trained in art history and historical anthropology at the Universitá di Bologna, at the Universiteit Leiden, and at the EHESS, in Paris, where she received her Ph.D.. Before coming to New York, she had been visiting researcher at the Instituto de Investigaciones Estéticas/ UNAM, in Mexico. She has been invited as a research fellow of the Wissenschaftskolleg in Berlin and as a visiting professor at the INHA and at the EHESS (Paris). Alessandra Russo is author of the books The Untranslatable Image (2014; French edition: L'image intraduisible, 2013), El realismo circular (2005), and co-editor of Images Take Flight (2015; Best book award in "theory of art" and Grand Prix du Jury at FILAF, 2016). She has co-curated the international exhibition El vuelo de las imágenes (MUNAL, Mexico) and participated in the curatorship of Planète Métisse (MQB, Paris)She is presently completing the book A New Antiquity. Art and Humanity as Universal (1400-1600), and is working on The Great Custodian. Bologna, Madrid, Europes, and the New Worlds of the Seventeenth Century.

Bianca de Divitiis (1974) is Associate Professor in History of Art at the University of Naples Federico II (from 2013). She is also Principal Investigator of the ERC five years project (2011-2016) entitled “Historical Memory, Antiquarian Culture, Artistic Patronage: Social Identities of the Centres of Southern Italy between the Middle Ages and the Early Modern Period”. She has studied Architecture at the University of Naples “Federico II” (2001) and achieved a Ph.D. in History of Architecture at the School of Advanced Studies in Venice (2006). She was awarded post-doctoral fellowships from The Mellon Centre for Studies in British Art and Architecture (2001, 2002, 2007), the Francis Haskell Memorial Fund (2006), the IUAV University in Venice (2006-2007; 2010-2011) , The Warburg Institute (2007), Villa I Tatti – Havard Centre for the Studies in Italian Renaissance Studies (2009-2010). She has organized international conferences and seminars and has published several articles in peer-reviewed journals (JSAH 2015, Zeitschrift für Kunstgeschicte 2013; JWCI 2007, 2010; Art History 2007; The Burlington Magazine 2003). She has published a book entitled Architettura e committenza nella Napoli del Quattrocento,  (Marsilio, Venezia 2007) and is currently working on a book entitled Rinascimento e il Regno. Memoria storica, cultura antiquaria, committenza artistica nei centri dell’Italia meridionale (Viella, Rome) to be published in 2017.

Luisa Elena Alcalá is Associate Professor in the Department of the History and Theory of Art of the Universidad Autónoma of Madrid. Before moving to Spain, she studied at Yale College and obtained her PhD from the Institute of Fine Arts (New York University, 1998). Her research focuses on Latin American colonial art, especially Mexican painting of the late seventeenth and eighteenth centuries and its relationship to issues of religious practices and experience, taste, and patronage.  An ongoing research interest has been the role of the Jesuits in Latin America as major players in an art history of circulation in the Early Modern period. Related to this, an upcoming article focuses on their role as importers of Neapolitan sculpture to the viceroyalty of New Spain. Prof. Alcalá has held fellowships from CASVA (National Gallery, Washington DC) and Dumbarton Oaks (Harvard University). She has edited the volume Fundaciones Jesuíticas en Iberoamérica and co-edited, with Jonathan Brown, Painting in Latin America. Currently she is involved in the co-curatorship of an exhibition on Mexican eighteenth century painting to be held at LACMA (Los Angeles), the MET (New York), and Fomento Cultural-Banamex (Mexico City) in 2017-18.

Elsa Arroyo Lemus studies the technical dimension of New Spain’s painting during Sixteenth-Century with a special emphasis on works created by artists that travelled to the New World from the Iberian context. She is conservator - restorer of cultural heritage from Escuela Nacional de Conservación, Restauración y Museografía (Mexico INAH) and has a bachelor’s degree in history from Universidad Nacional Autónoma de México (UNAM) where she received her master (2008) and Ph.D. (2015) in art history. Her doctoral dissertation investigates the cultural biography of a series of paintings by the Flemish painter Marten de Vos, which arrived to Mexico City during the decade of 1580. Her interests include the presence and circulation of European “agents” (artists, paintings and engravings) in New Spain’s artistic centers; and the move, transmission and preservation of artists’ traditions and it’s interaction with local practices. Elsa Arroyo is researcher at Instituto de Investigaciones Estéticas, UNAM, and is teaching currently in the field of “technical art history” at Graduate Program of Art History at UNAM. She was head of the Laboratorio de Diagnóstico de Obras de Arte at Instituto de Investigaciones Estéticas, UNAM (2010 - 2014), an area that promotes research initiatives on techniques and materials of Mexican art and the application of new methodologies for technical examination.  

Escardiel González's academic training responds to a Ph.D. degree in Art History through the doctorate program Andalusian Artistic Patrimony and its influence in Latin America at the Universidad de Sevilla, where she was awarded a prize and international mention cum laude for her dissertation “The Seven Archangels: History and Iconography of a Heterodox Devotion” (2014). She also hold a Masters degree in Latin American Studies at the same university, which provided current historical and methodological perspectives in the field of Colonial and Latin American Studies, for which she submitted the MA thesis “Austral Tauromachy: The bullfighting festivals in Chile” (2014). González worked as a Lecturer at the Art History Department at the Universidad de Sevilla between 2010-2015 with a teaching and research grant-contract from the Junta de Andalucía, which allowed her to have a broad and diversified teaching experience, as well as research and publication duties. During this time she was awarded several international research grants that allowed her to carry out field research in Italy, Mexico, Peru, Bolivia, Chile and the Philippines, where she developed a rich documentary database with documents and images. The results of González's research have been presented at diverse international congresses, meetings and seminars that took place in different countries in Europe, Latin America and Asia, and some of them have also been published in international journals. Currently, she take part in several international research projects, which explore new methodological routes in Visual Culture, such as “La copia pictórica en la Monarquía hispánica” (U. Granada, Spain), “Memoria, ritualidad e iconografía de Santiago apóstol en Chile” (PUCC, Chile), and “Intersecciones de la imagen religiosa en el mundo hispánico” (UNAM, Mexico). The main theoretical and methodological issues that underlie her research focus on the circulation, contacts and transmissions dynamics between Europe and the former Spanish Colonies in order to address the construction of an integrated history of visual culture.

Esteban Garcia Brosseau is professor of Art History at the Posgrado en Historia del Arte of the Universidad Nacional Autónoma de México (UNAM). He received his doctorate in Art History from this same university with a specialization in colonial Latin American art. He was a postdoctoral fellow at the Getty Research Institute during the scholar year 2013-2014 within the scholar program "Connecting Seas: Cultural and Artistic Exchange." He holds an M.A. in Asian and African Studies with a specialization in India from El Colegio de México and a B.A. in Classics from Université de Montréal. He has also completed three years of the Licenciatura in Architecture (B. Arch.) of the Universidad Nacional Autónoma de México. He is presently revising his PhD dissertation on the baroque pulpits of Goa, Daman and Diu, in former Portuguese India, for its publication by the Instituto de Investigaciones Estéticas of the Universidad Nacional Autónoma de México. His research focuses on the multiple artistic exchanges that took place in early modernity between South Asia, Europe and America along the maritime networks of the Iberian Empires, in the context of the global fight against heresy and idolatry. As a result of this same research he has come to focus on the motif of the Triumph of the Church as a pan-Iberian motif. He has published in journals such as Perspective, and participated in several international conferences on the same topics in Europe (CHAM International Conference, Lisbon) and the United States (Columbia University; Getty Research Institute; Ohio State University).

Jesús Escobar is the Harold H. and Virginia Anderson Chair of Art History at Northwestern University. He began his studies at Columbia University and received his Ph.D. from Princeton University. He teaches courses and publishes scholarship on the art, architecture, and urbanism of the early modern Spanish Habsburg world. His first book, The Plaza Mayor and the Shaping of Baroque Madrid, won the Eleanor Tufts Award from the American Society for Hispanic Art Historical Studies and was published in a Spanish-language edition in 2008 by Editorial Nerea. He is currently completing a second Madrid book project examining the relation between architecture and government during the rule of the late Spanish Habsburgs. His publications, forthcoming and in press, touch on Spanish cities such as Madrid, Santiago de Compostela, and Seville, as well other imperial centers such as Lima, Mexico City, Palermo, and Antwerp. The recent article “Architecture in the Age of the Spanish Habsburgs” [Journal of the Society of Architectural Historians 75/3 (2016)], introduces a long-term project underway that surveys the architecture and urbanism of the early modern Spanish world from a transnational perspective. Escobar has served on the Board of the Directors of the Society of Architectural Historians and is Editor for the scholarly book series, Buildings, Landscapes, and Societies, published by the Pennsylvania State University Press.

Josefina de la Maza (Santiago, 1980) is a Chilean independent researcher currently based in Mexico City. She studied art history at Universidad de Chile before receiving her PhD in art history and criticism from Stony Brook University (NY). Her academic interests revolve around the development of Chilean and Latin American art of the long nineteenth century, the definition of pictorial genres, and the creation of fine art academies and museums. Her most recent publication is De obras maestras y mamarrachos: notas para una historia del arte del siglo XIX chileno (2014). Using the notion of mamarracho (bad or passé art) the book –based on her dissertation work– analyzes the emergence of official and unofficial discourses organized around Chilean painting in the midst of the War of the Pacific (1879–83) and the constitution of the Museo de Bellas Artes in 1880. She is currently interested in studying the critical fortune of the Renaissance in 19th century Chile. In particular, her aim is to investigate how artists, historians, and writers were trying to reconcile colonial art with the art produced in a republican context while having in mind Spanish and Italian artists of the 16th and early 17th centuries. De la Maza’s research and academic work has been supported by the Coimbra Foundation (European Union); the SSRC (DPDF and IDRF programs), the Fulbright Foundation, and the Getty Foundation-CAA (EE.UU.); FONDART and CONICYT (Chile). She worked as an associate professor at Universidad Alberto Hurtado (Santiago) from 2012 to mid-2015, before moving to Mexico City.

Lia Markey is the Director of the Center for Renaissance Studies at the Newberry Library in Chicago. She specializes in artistic and cultural exchange between Italy and the Americas, Medici patronage, prints and drawings, and the history of collecting. Her recent book, Imagining the New World in Medici Florence, examines the Medici engagement with the Americas and its effects on collecting and art production in sixteenth-century Florence. She is currently co-editing an interdisciplinary edited volume on the reception of the New World in early modern Italy, currently under contract with Cambridge University Press. Dr. Markey has published articles in various edited volumes, in the Journal of the History of Collections and in Renaissance Quarterly.  She has also contributed to several museum exhibition catalogues, including, most recently, Italian Master Drawings from the Princeton University Art Museum. Her teaching experience includes undergraduate and graduate courses in Renaissance art, Colonial Latin American art and collecting history at the University of Pennsylvania and at Princeton University. She completed her PhD in art history in 2008 at the University of Chicago and has held fellowships at the Metropolitan Museum of Art, Villa I Tatti, the Warburg Institute, the Folger Library and the Kunsthistorisches Institute.

Lucía Querejazu graduated in History with an emphasis on colonial art history at the Javeriana University in Bogotá. Back in Bolivia she started her research work with several grants awarded by the Cultural Foundation of the Bolivian Central Bank which took her to visit the archives of La Paz, Sucre and Potosí. Her research studies the flow of images that surround Potosí and the visual contexts that connected the silver city with the (Iberian) world, particularly the triangle formed between Cusco, Arequipa and Potosí. From that perspective she has centered her projects on the development of a visual culture of the Andean world in response to the colonial administration system and the creation of complex images such as emblems and allegoric images in regards to death and idolatries on rituals and representations of death. She is currently preparing her doctoral dissertation entitled El programa iconográfico de Caquiaviri como una herramienta en la lucha contra las idolatrías for Faculty of the University of Buenos Aires. She has worked for the Archive of La Paz, the National Museum of Art and taught different courses at San Andrés University and El Alto city public University; she is also teaching at an International Baccalaureate program at the Saint Andrew´s School in La Paz.

Maria Elisa Navarro Morales is an assistant professor at la Universidad de Los Andes in Bogotá Colombia where she teaches in the School of Architecture. She graduated as an architect from Los Andes in 1999, obtained a Masters in History and Theory of Architecture in 2006 and a PhD in 2013 both from McGill University School of Architecture.  Before joining Los Andes in 2014, Dr. Navarro Morales held teaching positions in Canada. She was an assistant professor at Dalhousie University School of Architecture from 2011 until 2013. She also worked as a lecturer in the History and Theory Masters and as an undergraduate design tutor at McGill between 2009 and 2010. Her research looks at the Early Modern period in general and in particular she studies the work of Juan Caramuel de Lobkowitz, a Seventeenth Century polymath whose work has served her as a window into the intellectual world of his time.   She is particularly interested in disseminating the architectural works of this fascinating figure that despite being held high by his contemporaries has been left out of mainstream history.  Dr. Navarro Morales has participated in several international events where she has successfully presented her work.  She has also published some of her findings in book chapters and journals.  She is currently working on the publication of a manuscript of the Architectura Natural, the unpublished volume of Caramuel´s architectural treatise with the support of her school and in collaboration with the Werner Oeschlin Foundation.

Maria Vittoria Spissu holds a PhD degree in the History of Modern Art, obtained at the University of Bologna, where she presently is a Research Fellow and has previously been an Adjunct Professor. Also, she has been a scholarship holder at the University of Sassari and at the International Studies Institute, Florence. The main topic of her research has been the altarpieces painted in the Sardinian Kingdom under the Crown of Aragon and within the Habsburg Empire, with a special focus on the connections with the Flemish-Iberian painting and southern Raphaelism. In this context, she has investigated the circulation of prints and the specific adoption of imported foreign figurative ideas. She has published the monograph Il Maestro di Ozieri. Le inquietudini nordiche di un pittore nella Sardegna del Cinquecento and authored articles on retablo-related topics, such as: Un oltremare diffuso. Il navegar sardesco fra Mediterraneo di Ponente, echi dell’Impero e italianismi; or Il nemico oltremarino come alteritá integrata? Casi di ebrei e musulmani nei retabli di Sardegna (1492-1556). A new book concerning retablos, in course of publication, examines the connections between Spanish and Italian painting in early XVI century, and Flemish-Iberian and Gothic-Catalan painting on Mediterranean routes. Maria Vittoria Spissu is interested in iconography studies regarding the figures of lunatics, deviants and subversives. Her current research theme centers on the representation of the Infidel in Europe between the Reformation and Counter-Reformation (Turk, Jew, Moor, Muslim, Lutheran, Catholic), paying particular attention to the migration of attributes involved in the fabrication of the enemy, as well as to the recourse to and display of such aspects as irony, violence, the ancient and the exotic, in the rendering of the contact with the Others.

Michael Cole is Professor and Department Chair of Art History and Archaeology at Columbia University. A specialist in Italian Renaissance and Baroque art, his recent books include Ambitious Form: Giambologna, Ammanati, and Danti in Florence (Princeton, 2011), Italian Renaissance Art (co-authored with Stephen Campbell, Thames & Hudson, 2011, second edition underway) and Leonardo, Michelangelo, and the Art of the Figure (Yale, 2015). He became interested in the topic that grew into the Connecting Art Histories project when working with Rebecca Zorach on The Idol in the Age of Art: Objects, Devotions, and the Early Modern World (Ashgate, 2009), a co-edited volume that sought to move beyond the association of idolatry with image destruction and to ask the more art historical question of how concepts of idolatry mattered for image making in Europe, the Americas, and elsewhere. Currently he is writing a monograph on the painter Sofonisba Anguissola, whose career took her from Spanish Lombardy to Spain to the Viceroyalty of Sicily.

Nicolás Kwiatkowski studied History at the Faculty of Philosophy and Letters of the University of Buenos Aires, and earned his PhD at the same institution, with a thesis on the idea of history in Early Modern England. He has enjoyed research scholarships in Italy (Università degli Studi di Cagliari, 2004; where he also was guest professor in 2015), the United States (Fulbright Commission and Harvard University, 2009) and Germany (Freie Universität, Berlin, 2012; DAAD, 2015). His last book is Tomiris. Reina de los masagetas, Buenos Aires, 2016. He currently teaches Problems of Cultural History at the University of San Martín (UNSAM) and works as Associate Researcher at the National Council for Scientific Research (CONICET), Argentina.

Pedro Germano Leal has obtained his PhD in Text and Image Studies at the University of Glasgow in 2014, with the thesis The Invention of Hieroglyphs: a Theory for the Transmission of Hieroglyphs in Early-Modern Europe, currently being prepared for publication. Presently he is a Visiting Lecturer in Early-Modern Iconography and Emblematics at the Universidade Federal do Rio de Janeiro, where he coordinates Project IRIS (Iconographic Repertoire Identification System), a research group dedicated to designing a code to ascribe iconographic functions to Iconclass categories used to index images in digital databases. Previously, he has been a Visiting Lecturer at the Universitat Jaume I (Spain, 2014) and a Visiting Scholar at the University of Kiel (Germany, 2015). In 2014, he was nominated and elected a member of the Advisory Board of the Society for Emblem Studies, and invited to be a member of the Editorial Board of Imago: Revista de Emblemática y Cultura Visual (Universitat de València, Spain). In the following year, he was also nominated a member of the Advisory Board of the Sociedad Española de Emblemática. Leal has a strong research interest in Emblem Studies, Early Modern Iconology and Literature, and Visual Culture with an emphasis in Colonial Iberian America. His edited volume, Emblems in Ibero-America, is the first book in English dedicated to the emblematic culture in Ibero-America, for the prestigious Glasgow Emblem Studies series, distributed by Libraire Droz.

Ramoón Mujica is an art historian  who specializes in Baroque Andean Christian art and iconography. He has done his postgraduate studies at New College (Sarasota, FLA) and  at St. Marc University, in Lima. Among his various  publications are: Ángeles  Apócrifos  en  la America Virreinal (1996), which examine the influence of Renaissance Hebrew angelology and Christian prophecy in Spanish imperial political theology, mysticism and art both in Spain and the Americas; Rosa Limensis ( 2001), a historical survey  on XVII´s century creole female spirituality championed by saint Rose of Lima, the first saint of the Americas. More recently the Printing Press of the Peruvian Congress has edited an anthological volume of his work titled: La Imagen Transgredida (2016). The book includes in depth essays on the nature of “Colonial art”: the false relationship between Metropolitan center and Provincial periphery, the Andean uses of European printed visual models, the influence and transformation of Tridentine iconography and theology, Jesuit mnemotecnics, the relationship between  sermons and emblem books, the survival of Medieval and Renaissance Classical motives in 18th century Andean art, among other topics. Mujica is an elected member of the Peruvian Academy of History (since 2007) and of the Argentinian Academia Nacional de Bellas Artes. Until recently he has been the National Director of the National Library of Peru (2010-2016) and has authored essays for catalogues and collaborated in the curatorial work of art exhibits in Peru, Spain and the United States. 

Ulrich Pfisterer has taught art history at the Ludwig-Maximilians- Universität in Munich since 2006. He received his PhD from the University of Göttingen (1997) and undertook his ‘Habilitation’ at the University of Hamburg (2006). Fellowships allowed him to work at the Bibliotheca Hertziana in Rome, the Kunsthistorisches Institut in Florence, the Herzog August Bibliothek in Wolfenbüttel, the Getty Research Center in LA and at CASVA/National Gallery of Art in Washington. His interests encompass the fields of early modern art in Europe and beyond as well as the methodology and historiography of art history. In 2012 he co-organized an exhibition on ‘Ideals and Idols’ which thematized the reception of non-European reglious artifacts in 15th- to 18th- century European books and book illustrations up to the publications of Montfaucon, Picart and Lafitau. He is directing two research projects on the ‘episteme of lines’ and drawing books from c. 1525–1925 and on concepts and images of the ruler’s body in early modern Europe. Ulrich has published books on – among others – Donatello, art literature and theory in the Italian Renaissance, the social uses of Renaissance medals in Italy, the Sistine Chapel and on ‘birthing art’ which deals with the relation of concepts of erotic and biological procreativity and artistic creativity in early modern Europe. He is also the general editor of the collected writings of Aby Warburg, for which he has co-edited the volume on Fragmente zur Ausdruckskunde (2015). Currently he is preparing a collected volume of global artistic exchange and contact zones c.1300-1650.

Valeria La Motta is a scholar in History of Political Institution. In 2015, she obtained a PhD from the University of Messina (Italy) by discussing a thesis entitled L’Inquisizione in Sicilia durante il regno di Ferdinando d’Aragona (1469-1516), in which she reconstructs the political context of the foundation of the Spanish Inquisition in Sicily and its subsequent effects on the Sicilian revolution of 1516. She studied Political Sciences at the University of Palermo where she specialised in Early Modern History with a BA thesis about Christian renegades and Mediterranean slavery in the XVII century, under the supervision of Professor Giovanna Fiume. During her career, she became particularly involved in Hispanic studies, investigating the political forms through which the Catholic monarchy wielded his power in the Italian domains and particularly in the kingdom of Sicily. Among her publications: Dar motivo de queja: dispute cerimoniali nella Sicilia moderna (Storia e Politica, 2016); "El establecimiento de la Inquisición Española en Sicilia entre normas y prácticas (1500-1516)" (Anais eletronicos de Estudios Inquisitoriales, 2015); "Il sogno della famiglia di immortalità Corbera. La successione della baronia del Miserendino (1572- 1678)" (Istituto Poligrafico Europeo, Palermo 2012). Currently, she is studying the recently discovered graffiti left by inmates in the inquisitorial prisons of the Palazzo Chiaromonte Steri in Palermo.

Vanessa A. Portugal is a scholar of the Image in the Italian Renaissance. She specializes in the alchemical and magical use of astrological images in the Early Modern Period in Europe and New Spain. Vanessa is a PhD candidate in Art History by the UNAM. In her dissertation entitled “Las imágenes astrológicas en la Nueva España,” she presents different uses of astrological images (meditative, political, medical, divinatory and magical) in New Spain from the 16th to the 18th century. She received a MA in Art history (Hons) by the UNAM with the research “El mago, el coche, el ermitaño y el colgado del tarot Visconti-Sforza,” where she argues that the triumphal cards of the early 16th century Italian tarot deck could have been based on representations of the sons of the Planets, and links their use to the neoplatonic ideas of the time. Vanessa has carried out research stays at the Warburg Institute in London (2011, 2014-2015), the Pierpont-Morgan Library and Museum in New York (2011), the Beinecke Rare Books and Manuscript Library in Yale University, New Haven (2011), and in the Kunsthistorisches Institute Max-Planck in Florence (2014). Her publications on triumphal arches in royal festivities from the 17th and the 18th century underline the cultural adoption and production of political emblems in New Spain.