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Judy and Michael Steinhardt Director; Professor of Fine Arts
Yale (B.A.); Courtauld Institute of Art (M.A.); Harvard (PhD)
I am privileged to serve as Director of the Institute of Fine Arts as well as being a professor of art history at the Institute. My area of specialization is Italian Renaissance art. Candidly, my choice of that field grew out of an enduring attachment to Florence, dating from three formative years I spent there between high school and college. For two of those years I was an assistant to Dr. Klara Steinweg, who was completing a volume of the Corpus of Florentine Painting, a project begun by her mentor (and Institute professor), Richard Offner. The work was being published by the Institute, which became my first as well as my current employer. Dr. Steinweg’s meticulous erudition both inspired and daunted me. Her example taught me the necessity of achieving intimate knowledge of the works being studied as physical objects and as products of their histories, material and textual.
Subsequently, as an undergraduate student at Yale and in my graduate work at the Courtauld Institute (M.A.) and Harvard (PhD), I roamed through various fields, among them American decorative arts and material culture, English eighteenth-century art, and Islamic art, as well as gaining experience as a museum intern and gallery guide. My academic itinerary eventually led me back to Italy, and I wrote my dissertation on Giorgio Vasari’s Lives of the Artists.
Investigating sources represents an underlying theme in my research, be they objects or texts. So, too, are questions of placements and displacements and transformations over time – transformations in form and in forms of understanding and interpretation. After publishing my book, Giorgio Vasari. Art and History (Yale University Press, 1995), I moved from a textual and biographical study to a project that was contextual and one that would give me a chance to explore the rich resources of the Archivio di Stato in Florence. The resulting book, Images and Identity in Fifteenth-century Florence (Yale University Press, 2007) is a work of socio-cultural art history.
Along the way, I have taken forays into the history of collecting, the functions of drawing, and portraiture, among other subjects. My present book project, Looking Backwards: Perspectives on the Male Bottom in Italian Renaissance Art is a book of essays that takes the strangely overlooked motif of the male buttocks in Renaissance art as a focal point for perspectives on questions of representation, of historical distance and proximity, of vernacular expression and formal languages, and of metaphorical structures of understanding.
Having had the great fortune to teach first in London, at the Courtauld Institute, and now in New York, I have always taken advantage of the collections in those cities. Most of my teaching takes place on site with the objects that are the focus of the course. Since 2009, when I came to the Institute, my seminars have included Italian Renaissance Art in New York Collections, Facing up to Fifteenth-century Portraiture, The Sculptural Imagination in Italian Renaissance Art, and a Museum and Collecting Master Class.
The Sculptural Imagination in Italian Renaissance Art
The Creative Touch: Drawing in the Italian Renaissance
Arts in Florence during the Age of Lorenzo the Magnificent
Italian Renaissance Art in New York Collections
Facing up to Fifteenth-century portraiture
||Images and Identity in Fifteenth-century Florence. New Haven and London: Yale University Press, 2007. [order online]
||Portraits by the Artist as a Young Man: Parmigianino Ca. 1524. Groningen: Gerson Lectures Foundation, 2007.
||Art, Memory, and Family in Renaissance Florence. Co-edited with Giovanni Ciappelli. New York and Cambridge: Cambridge University Press, 2000. Preface, pp. vii-xiv; "Art and the Imagery of Memory,” pp. 67-85. [order online]
||Renaissance Florence: The Art of the 1470s. Coedited with Alison Wright. London: National Gallery Publications Limited, 1999. [order online]
||Giorgio Vasari. Art and History. New Haven and London: Yale University Press, 1995. [order online]
"'The Outcry': Despoilers, Donors, and the National Gallery in London, 1909." Journal of the History of Collections, 25:2 (2013): pp. 253-75. [Read online]
"Art History from the Bottom Up." Art History, 36:2 (2013): pp. 280-309.
"'Che è Di Questo Culazzino!': Michelangelo and the Motif of the Male Buttocks in Italian Renaissance Art." Oxford Art Journal, 32:3 (2009): pp. 427-6; and introduction to the issue. [Read online]
"Signposts Of Invention: Artists' Signatures In Italian Renaissance Art."Art History, 29:4 (2006) pp. 563-99, special issue; reprinted in Location, ed. Deborah Cherry and Fintan Cullen (Blackwell Publishing, London), chapter 3, pp. 31-67.
"'Contemplating Fragments of Ancient Marbles': Sitters and Statues in Sixteenth-century Portraits." La Revue D’histoire De L’art De L’ Académie De France à Rome: Studiolo, IV (2006): pp.17-39.
"Hierarchies of Vision: Fra Angelico’s Coronation of the Virgin for San Domenico, Fiesole." Oxford Art Journal, 27:2 (2004): pp. 137-53. [Read abstract]
"Portrait of a Lady: Isabella Stewart Gardner, Bernard Berenson and the Market for Renaissance Art in America." Apollo, CLII (2000): pp. 37-41.
"Answering to Names: The Case of Raphael’s Drawings." Word and Image, VII (1991): pp. 33-38.
”The Art of Colour in Florentine Painting of the Early Sixteenth Century: Rosso Fiorentino and Jacopo Pontormo,” Art History, XIV (1991): pp. 175-91.
Chapters in Books
"Understanding Renaissance Portraiture." In The Renaissance Portrait: From Donatello to Bellini, edited by Keith Christiansen and Stefan Weppelman, pp. 2-25. (Metropolitan Museum of Art, New York, 2011), pp. 2-25 and “Florenz und das Porträt der Renaissance verstehen,“ in Gesichter der Renaissance: Meisterwerk italienischen Porträt-Kunst (Bode-Museum, Berlin), pp. 2-25. [order online]
“‘Not … what I would fain offer, but … what I am able to present’: Mrs. Jonathan Foster’s translation of Vasari’s Lives,” in Le Vite del Vasari: Genesi, Topoi, Ricezione/ Die Vite Vasari: Entstehung, Topi, Rezeption, ed. Katja Burzer, Charles Davis, Sabine Feser, and Alessandro Nova (Marsilio Editore, Florence, 2010), pp. 317-31.
“Filippino Lippi, ‘pittore di vaghissima invenzione’: Christian poetry and the significance of style in late fifteenth-century altarpiece design,” in Programme et invention dans l’art de la Renaissance, ed Michel Hochmann, Julian Kliemann, Jérémie Koering, and Philippe Morel (Académie de France à Rome/Somogy, Rome and Paris, 2008), pp. 227-46.
"Bernard Berenson, Villa I Tatti, and the Visualization of the Italian Renaissance,” in Gli Anglo-Americani a Firenze. Idea e costruzione del Rinascimento, ed. Marcello Fantoni (Bulzoni, Rome, 2000), pp. 207-21.
"The seductions of antiquity,” in Manifestations of Venus. Art and Sexuality, ed. Caroline Arscott and Katie Scott (Manchester University Press, Manchester, 2000), pp. 24-34
"Domenico Ghirlandaio and the meaning of history in Fifteenth Century Florence,” in Domenico Ghirlandaio 1449-1494. Atti del Convegno Internazionale, Firenze, 16-18 ottobre 1994, ed. Wolfram Prinz and Max Seidel (Centro Di, Florence, 1996), pp. 197-208.
"Commission and design in Central Italian altarpieces c. 1450-1550,” in Italian Altarpieces 1250-1550, ed. Eve Borsook and Fiorella Superbi Gioffredi (Clarendon Press, Oxford, 1994), pp. 201-30. [order online]
"Raphael and the Rhetoric of Art,” in Renaissance Rhetoric, ed. Peter Mack (Macmillan, London, 1994), pp. 165-82.