Alessandra Russo is Associate Professor and Director of Graduate Studies in the Department of Latin American and Iberian Cultures at Columbia University, where she teaches and studies the theory, practice and display of the arts in the Early Modern times. She 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). Her essays have appeared in numerous volumes and journals such Res, the Art Bulletin, the Journal of the History of Collections, and October. She curated with Gerhard Wolf and Diana Fane the exhibition El vuelo de las imágenes and collaborated with Serge Gruzinski in the curatorship of Planète Métisse. Professor Russo is presently completing the book A New Antiquity. Art and Humanity as Universal (1400-1600) and is working on The Great Custodian. Sebastiano Biavati, Curator of a New Artistic World.
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.
Daniel Dolin is a second-year PhD candidate in the Department of Art History and Archaeology at Columbia, working on painting in seventeenth-century Naples. Daniel graduated from the University of Western Australia in 2016, with a thesis on the battle scenes of Aniello Falcone and Salvator Rosa. He continues to work on genre painting, the representation of war, and the art of southern Italy.
Darío Velandia Onofre is Assistant Professor at the Art History Department of the Universidad de los Andes in Bogotá. He has studied Literature at the Universidad de los Andes (2008) and achieved a Ph.D. in Art History at the Univesitat de Barcelona (2014). His publications explore the use and function of sacred imagery in diverse territories of the Spanish monarchy during the sixteenth and seventeenth centuries. Among his research he has taken a special interest in an interdisciplinary methodology, while evaluating the manner in which diverse types of literary sources (sacred oratory, artistic literature, mystical poetry, treatises on prayer, among others) condition the visual culture of the period. At present, the Vice-Rectory for Research of the Universidad de los Andes is financing his project, which aims to publish a book in which the impact of the Catholic Reformation upon visual arts is examined under three perspective analysis: monitoring, displaying and condemning. He has organized the international symposium Iconoclasm and Iconoduly: Worship and Violence Represented through the Sacred and Sacralized Image (Universidad de los Andes, September 6-8th 2017) and has published articles in peer-reviewed journals (Word and Image 2018, H-ART 2018, Hispania Sacra 2017, Perifrasis 2012).
Elsaris Núñez Méndez holds a Ph.D. in Art History with a primary field in Viceregal Arts from the College of Philosophy and Letters at the National Autonomous University of Mexico (UNAM), where she completed her dissertation entitled “Oración, virtud y sacerdocio. La capilla del Ochavo en la Catedral de Puebla”. Núñez has a strong interest in the arts of seventeenth-century Puebla (Mexico) and its relationship with broader artistic and religious dynamics developing in the Hispanic world, including those concerning the sensory cultivation of an intimate spirituality through the integration of the arts in ornamented architectural spaces. She was a pre-doctoral fellow of the National Council of Science and Technology of Mexico (CONACYT) (2014-2018) and of the College of Arts & Sciences at University of Illinois at Urbana-Champaign (2010-2012), where she obtained her Master’s degree. She was a curatorial assistant at the Museum of Fine Arts Boston for the exhibition Made in the Americas. The New World Discovers Asia (2015). She is co-author of the book La Catedral de Puebla. Una mirada (2015), and has produced articles and chapters for specialized publications and exhibition catalogues published in Mexico, Peru and Spain. Supported by UNAM and CONACYT-Foro Bilateral sobre Educación Superior, she has carried out archival and outfield research in Spain and Mexico, and the Benson Latin American Collection- University of Texas Austin, respectively. In 2017 she was nominated and accepted as member of the International Association of Art Critics-Chapter of Puerto Rico. Currently, she is a curatorial researcher at the Franz Mayer Museum in Mexico City.
Escardiel González Estévez is Profesor Ayudante Doctor at the Art History Department, Universidad de Sevilla, where she has taught since 2010. 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). During this time she was awarded several international research grants that allowed her to carry out field research in Italy, Mexico, Peru, Bolivia, Chile, the Philippines or Goa, where she has 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 and America, and some of them are published in international journals (Renaissance Journal) or books (Intersecciones de la imagen religiosa en el mundo hispánico). Currently, she takes part in several international research projects, which explore new methodological routes in Visual Culture, such as “Spolia Sancta: fragmentos y reliquias de sacralidad del Viejo al Nuevo Mundo” (U. Autónoma de Madrid). The main theoretical and methodological issues that underlie her research focus on the imagen codification and normativity in the Modern Age, and 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.
Francisco Montes González is Assistant Professor in the Art History Department of the University of Seville, where he also obtained his Ph.D. with the dissertation “Arte, fiesta y mecenazgo virreinal. El ducado de Alburquerque en la Nueva España”. Previously he was a postdoctoral fellow at the Art History Department of the University of Granada with the project “Autoridad eclesiástica y poder civil. El mecenazgo cultural en los virreinatos americanos y su proyección peninsular” and took part in the research group “Andalucía-América: Patrimonio cultural y relaciones artísticas”. His research is focused on the study of american viceregal culture from a sociological perspective. Within this topic he has conducted in depth research on subjects like artistic patronage, ritual festivals and the exchanges of images between Spain and Latin America. He has written articles and chapters for specialized publications, presented papers for international symposia, participated in research projects and being a visiting scholar in the United States, Mexico and Argentina.In 2015 he was awarded the prize “Cultura y Nobleza. Mecenazgo, Obra Social, Coleccionismo” by the Real Maestranza de Caballería de Sevilla and the Real Academia Sevillana de Buenas Letras. He is the author of the books Sevilla Guadalupana. Arte, historia y devoción (Seville, 2015) and Mecenazgo virreinal y patrocinio artístico. El ducado de Alburquerque en la Nueva España(Seville, 2016) and he also edited the volume Religiosidad andaluza en América. Repertorio iconográfico (Granada, 2017). He is currently an editorial board member of Anuario de Estudios Americanosand Quiroga. Revista de Patrimonio Iberoamericano.
Jesús Escobar is Associate Professor 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 book project examining the relation between architecture and government tentatively titled, “Baroque Madrid: Architecture, Space, and the Spanish Habsburgs.” His publications 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)], sets the stage for 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 Penn State University Press.
Juan Luis Burke was originally trained as an architect with a specialization in the preservation of the built heritage in his native Mexico. During the first part of his career he collaborated in the preservation of important landmarks in the city of Puebla de los Ángeles, Mexico, such as the Palafoxiana Library, which houses one of the most important rare book collections in the Americas. He has practiced architecture in Mexico, the United States, and Sweden, in projects ranging from historical preservation of differing structures and genres, to museums, schools, and private residences. He carried out his master’s and doctoral studies in History and Theory of Architecture at McGill University, earning his Ph.D. in 2017. His scholarly interests revolve around the history and theory of architecture and urbanism of the early modern to the modern periods in Mexico and Latin America, as well as its connections to Europe—in particular to Spain and Italy. He has published a number of articles, papers, and edited chapters in Spanish and English, revolving around issues of the reception of architectural and urban theory in viceregal Mexico, and other architectural and urban subjects. He is currently an assistant professor of architecture and architectural history and theory at the University of Maryland–College Park, where he teaches architecture studio and history and theory courses at the School of Architecture, Planning and Preservation.
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.
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, is the recent article “«…Fátiga, y cuidados, y gastos, y regalos…» Aspectos de la circulación de la escultura napolitana a ambos lados del Atlántico,” in Libros de la Corte. Monográfico 5 (2017) (https://revistas.uam.es/librosdelacorte/issue/view/678). 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. More recently, she was one of the co-curators (along with Jaime Cuadriello, Paula Mues Orts and Ilona Katzew) of the itinerant exhibition Painted in Mexico. Pinxit Mexici, 1700-1790 held at LACMA, Fomento Cultural Banamex (Mexico City), and the MET in 2017-18.
Maria Elisa Navarro Morales is an assistant professor at the Department of History of Art and Architecture at Trinity College Dublin. She graduated as an architect from Universidad de Los Andes in Bogotá 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 Trinity College in 2019, Dr. Navarro Morales held teaching positions in Colombia (2014 – 2019) and Canada (2011 – 2013). She is interested in the relationship between books and buildings and in non-canonical architectural manifestations. Her research has centred around the theoretical and built work of Spanish polymath 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.
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.
Ramón 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.
Rosario Nava has focused on studying the black color as a symbol of power in the Mesoamerican world. Her analysis has scoped the uses and functions of this color in body painting, as well in pre-Hispanic and colonial codices in Mexico. She has also specialized in studying the functions of the living image (ixptla), focusing mainly on the study of the human body as a medium to visualize this type of image. Her academic interests have also concentrated on the analysis of the permanence, transformation and dialogue established between the indigenous and European visual traditions. Rosario Nava has a Bachelor's degree in Sociology and a Master's degree in Art History. In 2018 she obtained a PhD in Art History, all from the Universidad Nacional Autónoma de México (UNAM). She is currently professor at the Escuela Nacional de Pintura y Escultura (Esmeralda/IMBA), and is part of the Interdisciplinary Seminar of the Conquest (www.noticonquista.unam.mx), a web based initiative to document public reflection and historical debates about the conquest of Mexico, Instituto de Investigaciones Históricas (UNAM).
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. She studied Political Sciences at the University of Palermo (Italy) where she specialised in Early Modern History with a BA thesis about Christian renegades in the XVII century. 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). During her career, she became particularly involved in Hispanic studies, investigating the political forms through which the Catholic monarchy wielded his power in its Mediterranean domains. Among her publications: Saints in Prisons. Francesco Baronio’s Calendar, in Quaderni Storici 157 / a. LIII, n. 1, aprile 2018, pp. 107-133; El establecimiento de la Inquisición Española en Sicilia entre normas y prácticas (1500-1516) in «Anais de Estudios Inquisitoriales», UFRB, Cachoeira-BA, 2016; Sardegna, l’isola aragonese dimenticata dagli spagnoli, «Storia e Politica», IV, n. 3/2012, pp. 608-616. Now she is studing the graffiti of Palazzo Chiaromonte in Palermo.
Vanessa A. Portugal is a trained Historian and Art Historian by Universidad Nacional Autónoma de México (UNAM), where she received her PhD. Her research focuses on art theory, and the alchemical, magical and astrological uses of the image in the Early Modern world. Related topics of interests include history of science and medicine. Vanessa has carried out research stays at the Warburg Institute, the Pierpont-Morgan Library and Museum, the Beinecke Rare Books and Manuscript Library, the Kunsthistorisches Institute Max-Planck, and the Plantin-Moretus Library. Her publications ‘Simbolica Descriptio. El trayecto de una alquimia espiritual. Polonia-Italia-Nueva España,’ (Universidad Pablo de Olavide, in press) ‘Las vestiduras de Apolo en la Nueva España,’ (Universidad de Castellón, 2016), ‘Astros festivos. Imágenes celestes en los arcos triunfales de la Nueva España,’ (Universidade do Estado do Rio de Janeiro 2013) present varied studies of graeco-roman astrological images in Latin American contexts. Her book ‘Imagenes astrológicas en la Nueva España’ (in press) explores the power of the astrological image from it’s artistic, political, meditative, divinatory, medical and magical use in New Spain from the 16th to the 18th century. Currently, as associate researcher at UNAM she is working on the project “Aby Warburg y los estudios precolombinos: reconstrucción historiográfica y desarrollo teórico.”
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.
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).
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.
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.