Notes on Contributors
Barbara Baert
is Professor of Art History at KU Leuven. She teaches in the field of Iconography, Iconology, Nachleben studies, Historiography, Art Theory & Analysis, and Medieval Art. Baert founded three series as editor-in-chief: Studies in Iconology (Peeters Publishers), Art&Religion (Peeters Publishers) and Iconologies (ASP Editions). Barbara Baert’s work links knowledge and questions from the history of ideas, cultural anthropology, philosophy, and in some measure also from psychoanalysis, and shows great sensitivity to cultural archetypes and their symptoms in the visual arts. Her recent books include: Pneuma and the Visual Medium in the Middle Ages and Early Modernity. Essays on Wind, Ruach, Incarnation, Odour, Stains, Movement, Kairos, Web and Silence (Peeters: 2016); Interruptions & Transitions. Collected Essays on the Senses in Medieval and Early Modern Visual Culture (Brill: 2019); About Sieves and Sieving. Motif, Symbol, Technique, Paradigm (De Gruyter: 2019), and From Kairos to Occasio along Fortuna. Text / Image / Afterlife (Brepols & Harvey Miller: 2020). In 2016, Baert was awarded the prestigious Francqui Prize for the Human Sciences. This prize, which counts as the highest scientific distinction in Belgium, is granted under the auspices of King Filip of Belgium (orcid.org/0000-0002-8694-2335).
Kim Butler Wingfield
earned her A.B. from Harvard and her Ph.D. from Johns Hopkins University. Currently Associate Professor at American University in Washington, DC, she has published articles in Art History, Artibus et Historiae, and Studies in Iconography, together with anthology contributions, on topics such as Raphael’s artistic relationship with his father Giovanni Santi, the iconography of the Sistine Chapel, the dialogue between the School of Athens and the Disputa in the Stanza della Segnatura, and the antiquarianism of Raphael’s Leonine Madonna paintings. She co-edited Revisiting Raphael’s Stanze with Tracy Cosgriff (Harvey Miller, 2022). Her book projects in progress include From Poetry to Thievery: Raphael’s Madonnas (Harvey Miller, 2023), Networks of Knowledge in the Stanza della Segnatura and Im/maculate Bodies in the Sistine Chapel. She has presented her research at venues including the National Gallery London, the Bibliotheca Hertziana (Rome), the Vatican, and the Zentralinstitut für Kunstgeschichte.
Mehreen Chida-Razvi
is an art historian specializing in the art and architecture of Mughal South Asia. She is the In-House Editor for the Khalili Collection of Islamic Art, is an Associate Editor for the International Journal of Islamic Architecture, and teaches courses and lectures on Islamic and Indo-Islamic art at universities and museums in London and Oxford. She has published extensively on aspects of Mughal and Persianate art, architecture, and urbanism; recent publications include: ‘Power and Politics of Representation: Picturing Elite Women in Ilkhanid Painting’, Journal of the Royal Asiatic Society (2021), ‘Lahore’s Badshahi Masjid: Spatial interactions of the Sacred and the Secular’ (2020), and ‘From Function to Form: Chini-khana in Safavid and Mughal Architecture’, South Asian Studies (2019). Dr Chida-Razvi has shared her academic expertise with wider audiences through documentaries on the Taj Mahal, programming on BBC, participation in the Lahore, Jaipur, and Heidelberg Literary Festivals, podcasts, and as an expert lecturer on cultural tours.
James Clifton
is Director of the Sarah Campbell Blaffer Foundation and Curator in Renaissance and Baroque Painting at the Museum of Fine Arts, Houston. He has published extensively on early-modern European art and culture. His curated and co-curated exhibitions include The Body of Christ in the Art of Europe and New Spain, 1150–1800 (1997); Scripture for the Eyes: Bible Illustration in Netherlandish Prints of the Sixteenth Century (2009); Pleasure and Piety: The Art of Joachim Wtewael (2015); and Through a Glass Darkly: Allegory and Faith in Netherlandish Prints from Lucas van Leyden to Rembrandt (2019). He was the chief script writer for two documentaries produced by the US Conference of Catholic Bishops: “The Face: Jesus in Art” (2001) and “Picturing Mary” (2006). He co-edited the volume Imago exegetica: Visual Images as Exegetical Instruments, 1400–1700 (Leiden, 2013).
Anna Dlabačová
(PhD Leiden Universty, 2014) is university lecturer and postdoctoral researcher at Leiden University Centre for the Arts in Society (LUCAS). Her research focuses on spiritual literature and religious culture in the late-medieval Low Countries. Currently she is preparing a monograph that explores the religious books published by the printer Gerard Leeu (d. 1492) in their contemporary context. Her research is funded by NWO—the Dutch Research Council, Veni-project Leaving a Lasting Impression: The Impact of Incunabula on Spirituality in the Low Countries (2018–2022).
Cristina Cruz González
is an associate professor of art history at Oklahoma State University. She received her PhD in art history from the University of Chicago and is a past Getty Research Fellow. A specialist in the visual culture of Latin America, González has published in The Art Bulletin; Res: Anthropology and Aesthetics; and Religion and the Arts. She has written on Franciscan image theory in New Spain, the art of Mexican confraternities, and the female imitation of Christ in Spanish America. Her work engages with the borders and frontiers of the Spanish Empire and with the popular devotions that emerged in these areas.
Barbara Haeger
formerly an associate professor of art history at The Ohio State University (now retired) has published numerous articles in various journals (e.g. NKJ, Simiolus, Oud Holland) and contributed chapters to volumes in series such as Intersections and Architectura Moderna. Her research is concerned with the representations of particular religious subjects and focuses primarily on exploring the iconography and pictorial construction of individual works of art in order to demonstrate how they create meaning, engage the viewer, and evoke affective responses. She participated in the founding of the Historians of Netherlandish Art in 1983 and in subsequent years served as project director for the 1989 international conference, as vice-president and president, and member of the board of directors.
Steven F. Ostrow
received his PhD from Princeton University in 1987. After teaching at Vassar College and the University of California, Riverside, he moved in 2006 to the University of Minnesota, where he served as chair of the Department of Art History until 2015. A specialist in early modern Italian (especially Roman) visual culture, he is the author of Art and Spirituality in Counter-Reformation Rome: The Sistine and Pauline Chapels in S. Maria Maggiore (Cambridge, 1996), and co-editor and contributor to Dosso’s Fate (Getty Research Institute, 1998), Bernini’s Biographies: Critical Essays (Penn State, 2006), Critical Perspectives on Roman Baroque Sculpture (Penn State, 2014), and Chapels of the Cinquecento and Seicento in the Churches of Rome: Form, Function, Meaning (Officina Libraria, 2020). His articles and essays have appeared in numerous journals and edited volumes.
Shelley Perlove
is Professor Emerita of Art History at the University of Michigan, since retirement in 2012 from the University of Michigan-Dearborn. Dr. Perlove specializes in art and religious culture, especially the works of Rembrandt, Bernini, Heemskerck, and Guercino. She is editor/author of eight books and exhibition catalogues that include: Bernini and the Idealization of Death; The Blessed Ludovica Albertoni and the Altieri Chapel, and Rembrandt’s Faith. Church and Temple in the Dutch Golden Age (with Larry Silver). These publications received recognition from the Roland H. Bainton Book Prize, the Newberry Library Brown-Weiss Book Award, the Gustav Art Humanities Book Award (finalist), and the Charles Rufus Morey CAA Book Award (finalist). Other books include Seventeenth-Century European Drawings in Midwestern Collections (Notre Dame University Press) with George Keyes; and with Dagmar Eichberger, Visual Typology in Early Modern Europe: Continuity and Expansion. Professor Perlove was co-author of an essay in the catalogue and consultant to the exhibition, “Rembrandt and the Face of Jesus,” which opened at the Louvre in 2009 and traveled to Philadelphia and Detroit. She is most recently publishing on issues of Dutch trade, colonialism, and the Dutch Americas, and is preparing a book-length study of the religious works of Rembrandt’s circle.
Elliott D. Wise
is Assistant Professor of Art History at Brigham Young University. His research focuses on the devotional function of late medieval and early modern art. In particular, he is interested in art and liturgy, representations of the Eucharistic Christ and the Virgin Mary, and the visual culture of the mendicant and monastic orders. He received a Ph.D. in Art History from Emory University, having spent a semester at the University of Leiden and a year in New York City as a fellow at The Metropolitan Museum of Art.