Member Publications, 2012
Books by Members, 2012
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Mary D. Edwards and Elizabeth Bailey, eds. Gravity in Art: Essays on Weight and Weightlessness in Painting, Sculpture and Photography (Jefferson, NC: McFarland, 2012).
Sally J. Cornelison. Art and the Relic Cult of St. Antoninus in Renaissance Florence. Visual Culture in Early Modernity. (Farnham, Surrey, and Burlington, VT: Ashgate Press, 2012).
Sally Anne Hickson. Women, Art and Architectural Patronage in Renaissance Mantua: Matrons, Mystics and Monasteries (Burlington, VT: Ashgate, 2012).
Anne Leader. The Badia of Florence: Art and Observance in a Renaissance Monastery (Bloomington: Indiana University Press, 2012).
Areli Marina. The Italian Piazza Transformed: Parma in the Communal Age (University Park, PA: Penn State University Press, 2012).
Christine Sciacca, ed. Florence at the Dawn of the Renaissance: Painting and Illumination, 1300-1350. (Los Angeles: The J. Paul Getty Museum, 2012).
Joaneath Spicer, ed., Revealing the African Presence in Renaissance Europe (exh. cat. Baltimore: The Walters Art Museum, 2012).
Allie Terry-Fritsch and Erin Felicia Labbie, eds. Beholding Violence in Medieval and Early Modern Europe. Visual Culture in Early Modernity. (Farnham, Surrey, and Burlington, VT: Ashgate Press, 2012).
Anna K. Tuck-Scala. Andrea Vaccaro (Naples, 1604-1670): His Documented Life and Art (Naples: Paparo Edizioni, 2012).
Articles by Members, 2012
Click on the book covers below to view in Amazon. Any purchases made from these related links, no matter the item, will return a percentage of your purchase to the Society at no extra cost to you. More information . Journal covers will take you to the related journal’s website.
|Joanne W Anderson. “Devotional and Artistic Responses to the Cult of Mary Magdalen in Trentino-Alto Adige, c.1300-1500: The Case of Cusiano” in Visible Exports / Imports: New Research on Medieval and Renaissance European Art and Culture ed. E. J. Anderson, J. Farquhar, and J. Richards (CSP, 2012), 161-80.|
|Joanne W Anderson. “Mary Magdalene and Her Dear Sister. Innovation in the Late Medieval Mural Cycle of Santa Maddalena in Rencio (Bolzano)” in Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque ed. M. A. Erhardt and A. M. Morris (Brill, 2012), 45-74.|
|Kathleen G. Arthur. “Descent, Elevation and Ascent: Oppositional Forces in the Strozzi di Mantova Chapel” in Gravity in Art: Essays on Weight and Weightlessness in Painting, Sculpture and Photography ed. M. Edwards and E. Bailey (Jefferson, NC: McFarland, 2012), 50-71.|
|Kathleen G. Arthur. “The ‘Maria del Sochorso’ Altarpiece: A Cretan Icon transformed in Counter-Reformation Italy,” Southeastern College Art Conference Review XVI, No.2 (2012): 151-70.|
|Elizabeth Bailey. “The Floating Book: A Reading of Saint Dominic’s Miraculous Book in Italian Art in the Late Thirteenth through the Early Fifteenth Centuries” in Gravity in Art: Essays on Weight and Weightlessness in Painting, Sculpture and Photography ed. M. Edwards and E. Bailey (Jefferson, NC: McFarland, 2012), 86-106.|
|Sandra Cardarelli. “The Cathedral, the Church and the City: Celebrating Saints in the Statutes of Southern Tuscan Cities,” in Art and Identity: Visual Culture, Politics and Religion in the Middle Ages and the Renaissance, ed. S. Cardarelli, E. J. Anderson, J. Richards (Newcastle on Tyne: Cambridge Scholars Publishing, 2012), 45-70.|
|Lynn Catterson. “Finding, Fixing, and Faking in Ghiberti’s Third Commentarii,” in Inganno – The Art of Deception: Imitation, Reception, and Deceit in Early Modern Art , ed. S. Hickson and S. Gregory (Burlington, VT: Ashgate, 2012), 123-49.|
|Mary D. Edwards. “Altichiero, Giotto, Dante and the Metaphorical Use of Gravity and Levity” in Gravity in Art: Essays on Weight and Weightlessness in Painting, Sculpture and Photography ed. M. Edwards and E. Bailey (Jefferson, NC: McFarland, 2012), 72-85.|
|Alison Fleming. “The ‘Roles’ of Illustrations of the Lives of St. Ignatius of Loyola,” in Visibile Teologia: Il Libro Sacro Figurato in Italia tra Cinquecento e Seicento , ed. Erminia Ardissino and Elisabetta Selmi (Roma: Edizioni di Storia e Letteratura, 2012), 115-25.|
|Luba Freedman. “ Apollo and Daphne by Antonio del Pollaiuolo and the Poetry of Lorenzo de’ Medici,” Memoirs of the American Academy in Rome 56/57 (2011/2012): 213-42.|
|Robert G. La France. Catalog entries for works by Bronzino, Jacopo Zucchi, Elia Candido (Elias de Witte), and Giambologna in Stradanus (1523-1605), Court Artist of the Medici ed. Manfred Sellink (Turnhout: Brepols, 2012), 347-49 and 353-359.|
|Robert G. La France and Andrea Galdy. “Golden Chambers for Eleonora of Toledo: Duchess and Collector in Palazzo Vecchio,” in Women Patrons and Collectors ed. Susan Bracken, Andrea Gáldy, and Adriana Turpin (Newcastle upon Tyne: Cambridge Scholars, 2012), 1-33.|
|William R. Levin. “Il Mantello della virtù in un affresco della Misericordia: Guida pratica di filantropia,” San Sebastiano, 64, no. 252 (July-September 2012): 34-3|
|Valentina Locatelli. “Tra fisiognomica e parodia romantica: Giovanni Morelli e la caricatura” Annali della Fondazione Europea del Disegno VI/2010 (2012), 181–207|
|Jessica Maier. “Francesco Rosselli’s Lost View of Rome: An Urban Icon and its Progeny,” Art Bulletin 94, no. 3 (September 2012): 395-411.|
|Jessica Maier. “A ‘True Likeness’: The Renaissance City Portrait.” Renaissance Quarterly 65, no. 3 (Fall 2012): 711-52.|
|Lia Markey. “Stradano’s Allegorical Invention of the Americas in Late Sixteenth-Century Florence,” Renaissance Quarterly 65, no. 2 (Summer 2012): 385-442.|
|Louise Marshall. “A Plague Saint for Venice: Tintoretto at the Chiesa di San Rocco,” Artibus et Historiae XXXIII, no. 66 (2012): 153–188.|
|Katherine McHale. “Child’s Play? Giandomenico Tiepolo’s Punchinello Drawings and the Fall of Venice,” Master Drawings 50, no. 1 (Spring 2012): 95-114.|
|Linda Pellecchia. “From Aesop’s Fables to the Kalila wa-Dimna: Giuliano da Sangallo’s Staircase in the Gondi Palace in Florence,” I Tatti Studies. Essays in the Renaissance, 14-15 (2012): 137-207.|
|Sheryl E. Reiss. “From ‘Defender of the Faith’ to ‘Suppressor of the Pope’: Visualizing the Relationship of Henry VIII to the Medici Popes Leo X and Clement VII” in The Anglo-Florentine Renaissance: Art for the Early Tudors ed. Cinzia M. Sicca and Louis A. Waldman (New Haven and London: Yale University Press, 2012), 235-64.|
|Sheryl E. Reiss. “Pope Clement VII and the Decorum of Medieval Art,” in Rethinking the High Renaissance: The Culture of the Visual Arts in Early Sixteenth-Century Rome ed. Jill Burke (Burlington, VT: Ashgate, 2012), 289-316.|
|Allie Terry-Fritsch, “Florentine Convent as Practiced Place: Cosimo de’Medici, Fra Angelico and the Public Library of San Marco.” Medieval Encounters 18 (2012): 230-71.|
|Allie Terry-Fritsch, “Introduction: Beholding Violence” and “Proof in Pierced Flesh: Caravaggio’s Doubting Thomas and the Beholders of Wounds in Early Modern Europe” in Beholding Violence in Medieval and Early Modern Europe ed. Allie Terry-Fritsch and Erin Felicia Labbie (Farnham, Surrey, and Burlington, VT: Ashgate Press, 2012), 1-14 and 15-37.|
|Sarah S. Wilkins, “Imaging the Angevin Patron Saint: Mary Magdalen in the Pipino Chapel in Naples.” California Italian Studies 3 no. 1 (2012).|
|Lila Yawn. “Clement’s New Clothes. The Destruction of Old S. Clemente in Rome, the Eleventh-Century Frescoes, and the Cult of (Anti)Pope Clement III,” Reti Medievali Rivista , 13/1 (Apr. 2012): 175-208.|
|Lila Yawn. “Fields of Dreams: Sacred Visions in Mosaic on Roman Church Façades and Portals,” in Colori e significati. Una ‘croce disarmata’ tra crociata e ğihād , ed. Giulio Cipollone, Collectanea Archivi Vaticani dell’Archivio Segreto Vaticano, 2012, pp. 169-192.|