Notes on Contributors
LuiÌs Urbano Afonso
is Senior Associate Professor at the School of Arts of the University of Lisbon (FLUL), where he has taught since 1997. He is currently responsible for the M.A. programme in Art Markets at the school. He holds a B.A. (1995), a M.A. (1999), a Ph.D. (2006), and an âAggregationâ title (2017) in Art History. His main areas of research are Late Medieval/Early Renaissance Portuguese art; the processes of artistic acculturation, syncretism and hybridisation in the Early Globalisation period; and art markets in the present. He has published numerous books, including Sephardic Book Art of the 15th Century (Turnhout, 2020). His research has appeared in specialised journals, including African Arts, Archivo espanÌol de arte, Artibus et historiae, Burlington Magazine, International Journal of Arts Management, Journal of World History, Mande Studies, Mediterranean Studies, The Antiquaries Journal, The Medieval History Journal, and Viator: Medieval and Renaissance Studies.
Sylvia Alvares-Correa
is a Junior Research Fellow at Christ Church College, Oxford. Her research focuses on cultural exchange between the Netherlands and Portugal in the 15th and early 16th centuries. She is particularly interested in how Portuguese patrons commissioned, acquired, and adapted Netherlandish artworks. Recent research includes her article âCrusading in a Lisbon Convent: The Making and Meaning of The Passion of Christ in Jerusalem (Lisbon, ca. 1500)â, in the Journal of Historians of Netherlandish Art, 15/2 (2023).
Vanessa Henriques Antunes
is a conservator-restorer of paintings at the Laboratório José de Figueiredo-MMP. She is also an integrated researcher at ARTIS: Institute of Art History at the School of Arts of the University of Lisbon (FLUL) and a collaborator of LIBPhys-UNL at the Laboratory of Instrumentation, Biomedical Engineering, and Radiation Physics, Department of Physics, Faculty of Sciences and Technology, NOVA University of Lisbon. In 2018 she was awarded a research contract from the Foundation for Science and Technology (FCT) for her project âBRIGHT: BRing the hIdden to the liGHTâ. Vanessaâs research focuses on the scientific and technical analysis of art and cultural heritage, with a particular emphasis on Portuguese painting from the 15th to the 18th centuries. She safeguards collections of paintings dating from the 16th to the 18th centuries through material and artistic analytical research, preserving cultural heritage while fostering community and sustainable development.
Piers Baker-Bates
is Visiting Research Associate at The Open University. Since receiving his Ph.D. from the University of Cambridge in March 2006, he has held several research grants and fellowships, including awards from the Gladys Krieble Delmas Foundation, the Society for Renaissance Studies, the British School at Rome, CASVA, and Durham University. His book, Sebastiano del Piombo and the World of Spanish Rome, was published by Routledge in September 2016, while articles on Sebastiano and Spain and Italy have appeared in both edited collections and journals such as Renaissance Studies and the Hispanic Research Journal. He has co-edited three volumes: The Spanish Presence in Sixteenth-Century Italy: Images of Iberia, with Miles Pattenden (Farnham, 2015); âUn nuovo modo di colorire in pietraâ: Paintings on Stone and Material Innovation, with Elena Calvillo (Leiden, 2018); and Portrait Cultures of the Early Modern Cardinal, with Irene Brooke (Amsterdam, 2020).
Costanza Beltrami
is Senior Lecturer in Art History at the University of Stockholm. Her research focuses on Gothic architecture in the late 15th and early 16th centuries, especially in central Spain. Among her recent publications is âMemory, Modernity, and Anachronism at the Convent of San Juan de los Reyes, Toledoâ, in Alice Isabella Sullivan and Kyle G. Sweeney (eds.), Lateness and Modernity in Medieval Architecture (Leiden, 2023). She is also interested in the role of drawings in construction and management, as discussed in her book Building a Crossing Tower: A Design for Rouen Cathedral of 1516 (London, 2016).
António Candeias
holds a bachelorâs degree in Technological Chemistry and a postgraduate degree in Chemistry and Cultural Heritage from the Faculty of Sciences of the University of Lisbon. He received doctoral and âHabilitationâ degrees in Chemistry from the University of Ãvora. His research focuses on surface chemistry and heritage science. He has been Professor at the University of Ãvora since 1992 and was director of the HERCULES Laboratory (Herança Cultural, Estudos e Salvaguarda) from 2009 to 2019. He is currently Vice-Rector of the University of Ãvora for Research and Development, Director of the Institute for Research and Advanced Training at the same university, and Director of the Infrastructure ERIHS.pt. His research focuses on the intersection between chemistry and visual culture in Portugal.
Ana Cardoso
holds a masterâs degree in Materials Engineering from the Faculty of Sciences and Technology at NOVA University of Lisbon. Her thesis focused on the scientific study of materials in paintings. She also received a masterâs degree in Conservation and Rehabilitation of Interiors from the School of Portuguese Decorative Arts (ESAD). Ana has held several positions in academic and research institutions in Portugal, including the University of Ãvora, the Foundation for Science and Technology (FCT), and the José de Figueiredo Laboratory. Her work has focused on heritage cultural studies and preservation of art, with a particular emphasis on the study of materials in paintings from the 15th and 16th centuries.
Maria L. Carvalho
is Full Professor at the Physics Department of the Faculty of Sciences and Technology, NOVA University of Lisbon. She is Director of the Atomic and Molecular Laboratory. She was Vice-President of the X-Ray Spectrometry Association (EXSA) and a member of the Pedagogic Council of Faculty of Sciences, University of Lisbon. She is a member of the Editorial Board of X-Ray Spectrometry. Her research focuses mainly on X-Ray Fluorescence Spectrometry, especially new developments in devices and methods for trace element research in biomedical samples, in the environmental impact of pollutants, and in the analysis and imaging of objects of art and cultural heritage. She has published widely on the scientific and technological contextualisation of 16th- and 17th-century Portuguese paintings, including articles in Journal of Archaeological Science: Reports, Conservar património, Microchemical Journal, and Applied Physics A.
Maria José Francisco
is Conservator-Restorer at the Museo de Setúbal-Convent of Jesus. She is responsible for caring for Setúbalâs foremost artistic treasures. Among these treasures is the famous altarpiece of the church of the Convent of Jesus. This retable is widely recognised by experts as being one of the most representative ensembles of Portuguese Renaissance art.
Bart Fransen
is Head of the Centre for the Study of the Flemish Primitives at the Royal Institute for Cultural Heritage (KIK-IRPA), Brussels. He gained his doctorate in History of Art from the Catholic University of Leuven in 2009 with a thesis on âRogier van der Weyden and Stone Sculpture in Brusselsâ (published in London, 2013). He has worked at the Museo Nacional del Prado in Madrid, the Royal Museums of Fine Arts of Belgium, and the Catholic University of Leuven. He publishes and lectures on early Netherlandish art and on the artistic relations between the Burgundian Netherlands and Spain. He was director of the VERONA project (Van Eyck Research in OpeN Access), that received the 2019 European Heritage Award/Europa Nostra Award. Currently, in collaboration with an international and interdisciplinary team, he is researching the artist Justus of Ghent and the Ghent Calvary Triptych. Among his publications are The Ghent Altarpiece: Research and Conservation of the Exterior, co-edited with Cyriel Stroo (Brussels, 2020); and âHans Memlingâs Nájera Altarpiece: New Documentary Evidenceâ, The Burlington Magazine, 160/1379 (2018), 101â105.
Alexandra Lauw
is a researcher at the Forest Studies Center, Institute of Higher Agronomy, University of Lisbon. She obtained a degree in Forest Engineering from the Institute of Higher Agronomy in 1996 and began her research career as a Fellow at the Forest Studies Centre. In 2010, she received a masterâs degree in Forest Engineering and Natural Resources, with a final thesis in the field of dendrochronology. Her Ph.D., completed in 2022, applied a dendrochronological and plant anatomy approach to painting and musical instruments. Her research is in the fields of dendroclimatology and dendroarchaeology. She has held training positions at the University of Hamburg (1998), WSL Birmensdorf, Swiss Federal Research Institute (2010), the Royal Institute for Cultural Heritage (KIK-IRPA) (2012), and the University of Ljubljana (2016).
Marta Manso
is a researcher at the LIBPhys-UNL, Laboratory of Instrumentation, Biomedical Engineering, and Radiation Physics, Department of Physics, Faculty of Sciences and Technology, at NOVA University of Lisbon, a collaborator at the VICARTE (Glass and Ceramics for the Arts), and an invited assistant professor at the Department of Art and Heritage Sciences, Faculty of Fine Arts, University of Lisbon. She conducts research in the area of X-ray spectrometry, specifically the development of quantitative X-ray fluorescence (XRF) methods and portable XRF systems for application to the study of cultural heritage.
Eva March
is Associate Professor at the Pompeu Fabra University in Barcelona. Her research focuses on the study of public collecting in Catalonia in the first half of the 20th century. A result of her research is the book Els museus dâart i arqueologia de Barcelona durant la dictadura de Primo de Rivera (Barcelona, 2011). Recently, she has worked on situating Barcelonaâs art museums in a European context, publishing âImplementing Preventive Strategies Between World War I and II: Catalan Art Museums and the Spanish Civil Warâ, in Kate Hill (ed.), Museums, Modernity and Conflict: Museums and Collections in and of War since the Nineteenth Century (New York, 2021). A second line of research focuses on methodological questions, especially those concerning the reception of artistic models, which she has explored in different geographical and temporal frameworks.
Encarna Montero Tortajada
is a lecturer at the University of Valencia. Her research focuses on the transfer of knowledge, the training of artisans, and the role of intermediaries in artistic commissions in the medieval period. She has also worked on travelling artists and on the use of models in art-making. Recent publications include: ââUna myga ymatge en paper, de ploma, de mà de Johannesâ: La fugitiva sombra de Van Eyck en la Corona de Aragón a mediados del siglo XVâ, Archivo español de arte, 89/353 (2016), 1â14; âModels and the Practice of Drawing in Eastern Spain, 1370â1450â, in Maddalena Bellavitis (ed.), Making Copies in European Art 1400â1600: Shifting Tastes, Modes of Transmission, and Changing Contexts (Leiden, 2018), 87â129; âThe South Kensington Museumâs Purchase of the Altarpiece of Saint George: A Case-Study of the Changing Fortunes of Medieval Spanish Art in the Nineteenth Centuryâ, Journal of the History of Collections, 34/1 (March, 2022), 23â32; and âDar color a la guerra, la justa y la muerte: Los pintores de armas en Valencia durante los siglos XIV y XV: Estructura corporativa y práctica profesionalâ, Anuario de estudios medievales, 52/2 (2022), 745â771.
Elena Paulino Montero
is Associate Professor at the department of Art History at the Universidad Nacional de Educación a Distancia (UNED) since 2021. Previously, she was Assistant Professor at the Complutense University (2019â2021), Juan-de-la- Cierva Postdoctoral Fellow at the UNED (2018â2019), and Postdoctoral Fellow at the Kunsthistorisches Institut in Florence (2015â2017), where she participated in the research project ââConvivenciaâ: Iberian to Global Dynamics (500â1750)â. Her research is devoted to patronage and transcultural artistic exchanges during the late Middle Ages in the Iberian Peninsula, as in her book Arquitectura y nobleza en la Castilla bajomedieval: El patrocinio de los Velasco entre al-Andalus y Europa (Madrid, 2020). Currently, her research focus is the role of women in the arts during the Middle Ages, and she is PI of the project âMARCAM: Art and women in medieval Castileâ, funded by the Spanish Ministry of Innovation. She is also interested in the Iberian-Atlantic connections at the end of the 15th century. She is part of the Cost-Action 18129: âIslamic Legacy: Narratives East, West, South North of the Mediterranean (1350â1750)â.
Fernando António Baptista Pereira
is a university professor and curator. He has been President of the Faculty of Fine Arts at the University of Lisbon (FBAUL) since 2019. He completed a degree in History at the University of Lisbon (FLUL, 1976), a postgraduate degree in Museology from the former Portuguese Institute of Cultural Heritage (1984), and a doctorate in Art Sciences (Art History) at the Faculty of Fine Arts of the University of Lisbon (2002). Currently, as a professor at FBAUL, he teaches Art History and Museology. His research focuses on medieval and Early Modern Portuguese culture, including the recent exhibition and catalogue As Ilhas do ouro branco: Encomenda artÃstica na Madeira, séculos XVâXVI (Lisbon, 2017), which explores patronage and the export of art to the island of Madeira.
Joana Balsa de Pinho
is Associate Researcher at ARTISâInstitute of Art History, University of Lisbon. She completed her Ph.D. in Art History at the University of Lisbon in 2013, with a thesis on the confraternities of Misericórdia and Portuguese 16th-century architecture, funded by the Foundation for Science and Technology (FCT). She has developed research activities in several projects in Portugal, Brazil, and Spain. Since 2018, she has been PI for the project âHospitalisâHospital Architecture in Portugal at the Dawn of Modernity: Identification, Characterisation and Contextualisationâ (PTDC/ART-HIS/30808/2017), funded by the FCT. Among her publications are âHouse of Misericórdia: Healthcare and Welfare Architecture in Sixteenth-Century Portugalâ, in Mohammad Gharipour (ed.), Health and Architecture: The History of Spaces of Healing and Care in the Pre-Modern Era (London, 2020), 181â196; and âThe Portuguese Confraternities of Mercy and Material Culture: Commissioning Art and Architecture to Promote Institutional Identityâ, Acta historiae artis Slovenica, 23/2 (2018), 75â86.
MarÃa Sanz Julián
is Associate Professor in the Department of English and German Philology at the University of Zaragoza, where she has been working since 2003. Her research focuses on medieval European literature, specifically on German and Spanish culture. She has carried out numerous studies on early printing in Europe, especially on Trojan subject matter. Her publications include editions and studies on the Trojan Chronicles printed by Juan de Burgos in 1490 (2003); the Liber de claris mulieribus by Boccaccio (2012); the Compendium de la salud humana (2019); Melusina (2020); and the Repertorio de los tiempos (2022). She has been a member of more than a dozen research projects and has held teaching, training, and visiting research positions at various universities and cultural institutions.
Steven Saverwyns
obtained his Ph.D. degree in Science (Chemistry) at Ghent University in 2000. In the same year, he started working in the laboratory department of the Royal Institute for Cultural Heritage (KIK-IRPA) in Brussels. He is now Head of the Painting Lab and responsible for the analytical support and research on paintings, with an expertise in a range of analytical methods, including macro-X-ray fluorescence, micro-Raman spectroscopy, and pyrolysis gas chromatography mass spectrometry. His studies focus on both pre-modern and modern paintings. He also has comprehensive expertise in the material-technical study of paintings in the framework of authenticity studies. He is currently coordinator of an interdisciplinary research project funded by the Belgian Science Policy, focusing on Belgian Abstract Modernism (BeAM). He has co-authored several articles on the technical analysis of paintings and related scientific techniques.
Marco Silvestri
studied art history and philosophy at the University of Stuttgart. After gaining experience as a freelance art historian in museums and galleries, since 2013 he has been working as Research Assistant at the Chair of Material and Intangible Cultural Heritage at the University of Paderborn. From 2014 to 2016, he acted as Project Coordinator of the research study âWeser Sandstone as a Global Cultural Assetâ. Research stays took him to Seville, Madrid, Peru, and Bolivia. From August 2018 to September 2019 he was a predoctoral fellow of the Gerda Henkel Foundation. He earned his doctorate in Art History in 2021, with a thesis focused on urban planning in mining towns in the Early Modern period in Peru and Germany. His research interests include urban planning and architectural theory, architectural cultural exchange, and BauhuÌttenwesen. He has published articles on urban planning in Residenz and mining towns, architectural reconstruction, and the re-establishment of building lodges in the 19th century.
Maria Vittoria Spissu
is Assistant Professor of Early Modern Art History at the University of Bologna and Marie SkÅodowska-Curie Global Fellow (Center for Renaissance Studies, The Newberry Library, Chicago) for the project âCommunities of Concord: Building Contentment and Belonging through Emotional Images in Early Modern Europe and Beyondâ. She has been part of various research projects, including âSpanish Italy and the Iberian Americasâ (Getty/Columbia University); âIslamic Legacy: Narrative East, West, South, North of the Mediterraneanâ (COST-Action Horizon 2020); and âThe Renaissance in Southern Italy and in the Islandsâ (PRIN). She has published books on Hispano-Flemish altarpieces and the Southern Italian Renaissance, co-authoring La via dei retabli: Le frontiere europee degli altari dipinti nella Sardegna del Quattro e Cinquecento (Sassari, 2018), and essays on Mediterranean artistic exchanges and the depiction of Otherness, including âPersuading with Baptismal and Triumphant Images: Emotional Entanglements in the Apologies of Conversion in the Early Modern Iberian Worldâ in Giuseppe Capriotti, Pierre-Antoine Fabre, and Sabina Pavone (eds.), Eloquent Images (Leuven, 2022), and âReckoning with the Illuminated Dreams of a Burgundian Crusadeâ, in Borja Franco Llopis and Laura Stagno (eds.), A Mediterranean Other (Genoa, 2021).
Sara Valadas
received a degree in Chemistry in 2007 and completed her Ph.D. in the same subject at Ãvora University in in 2016. She is a Contract Researcher at the HERCULES Laboratory (Herança Cultural, Estudos e Salvaguarda) and an integrated member of its scientific board, participating in several national and international projects, such as the study of the altarpiece of Funchal Cathedral in Madeira, the Old Goa Revelations Project (a study of the portraits of the viceroys of India), the SCREAM Project (on Edvard Munchâs drawings), the E-RIHS.pt infrastructure project, and a project for the conservation and study of the Saint Vincent Panels, a late Gothic polyptych attributed to painter Nuno Gonçalves.
Céline Ventura Teixeira
is Associate Professor at Aix-Marseille University. She specialises in the arts of the Iberian Peninsula during the 16th and 17th centuries. In 2019, she published a book based on her doctoral thesis (defended at Paris-Sorbonne University): LâAzulejo, la genèse dâun art: Regards croisés entre les ateliers de péninsule ibérique (1556â1668) (Paris, 2019). Her recent articles explore the circulation, adaptation, and hybridisation of ornamental repertoires applied to the decorative arts between the âOld Worldâ and the âNewâ. Among her recent publications are âItinérances artistiques et hybridations des formes dans les arts décoratifs au Portugal et au-delà des mers (xvieâxviie siècles)â, Perspective, 1 (2021), 132â154; and âA Palimpsest of Ornaments: The Art of Azulejo as a Hybrid Languageâ, Renaissance Studies, 34/4 (2020), 593â623.
Nelleke de Vries
is Curator of Old Masters and Modern Art at Rijksmuseum Twenthe in Enschede, the Netherlands. Between 2018 and 2021, she was a doctoral researcher at the Institute for Art History of the Ludwig Maximilian University in Munich and member of the ERC-funded project âSACRIMA: The Normativity of Sacred Images in Early Modern Europeâ. Her dissertation examined the migration and adaptation of iconographical and visual motifs between northern and southern Europe between 1470 and 1530. Her research focuses on the artistic connections between different geographic regions and the impact of emerging art markets and trans-European networks of patronage on the artistic production of the period, as well as on the role of materiality and the phenomenon of the Early Modern copy. She has published on 15th- and 16th-century Netherlandish and Italian art, including the recent exhibition catalogue Sofonisba Anguissola: Portrettist van de renaissance (Zwolle, 2023).
Armelle Weitz
is a university graduate in Art History and Archaeometry. She joined the dendrochronology laboratory at the Royal Institute for Cultural Heritage (KIK-IRPA) in Brussels in 2011. Since then, she has been studying the wood material of works of art arriving at KIK-IRPA for study, restoration, or conservation, as well as archaeological wood. Her research is concerned with determining the species, dating, and origin of wood supports in works of art. She has contributed to several publications on the technical study of historic wood in art, architecture, and musical instruments.