Contributors
Diane Antille
is a PhD researcher at the University of Neuchâtel (Switzerland). She graduated from the Ãcole du Louvre (Paris) with a Masterâs in History of Collections. Her current research is directed towards the material culture of French queens in the fourteenth and fifteenth centuries with a focus on goldsmithsâ works. In conjunction with her academic research, Antille currently works as a graduate teaching assistant in the department of Art History and Museology, University of Neuchâtel. Antille has received support from the Swiss National Science Foundation for her doctoral research.
Jennifer Borland
is Associate Professor of Art History at Oklahoma State University. Her research and teaching interests range from medieval medical and scientific imagery to medievalism and collecting, materiality, the corporeal experience of objects and spaces, audience and reception, and representations of gender. She has published in journals including Gesta, postmedieval, Medieval Encounters, and Different Visions on topics such as the gendered experience of medieval spaces, the material legacy of handling in medieval manuscripts, and early twentieth-century medievalist architecture. She is currently working on a book about the illustrated manuscripts of Aldobrandino of Sienaâs Régime du corps. A related essay, âFreeze Framed: Theorizing the Historiated Initials of the Régime du corps,â was published in Word & Image: A Journal of Verbal/Visual Inquiry 32, no. 2 (AprilâJune 2016). She is also a founding member of the Material Collective (thematerialcollective.org).
Theresa Earenfight
is Professor of History and Director of the Women and Gender Studies Program at Seattle University, and writes on queens and queenship in medieval and early modern Europe. Her works include The Kingâs Other Body: Maria of Castile and the Crown of Aragon (2010), Queenship in Medieval Europe (2013), and (editor of) Queenship and Political Power in Medieval and Early Modern Spain (2005). She is currently studying Catherine of Aragon by looking at her personal possessionsâart, books, clothing, and shoesâand what these objects reveal about her personal relationships with her family and women at the Tudor court.
Julia Finch
is Assistant Professor of Art History in the Department of Art and Design at Morehead State University in eastern Kentucky, where she teaches art and architecture from prehistory to the present day. The essay in this volume stems from her dissertation, completed at the University of Pittsburgh. Her research interests include visual translation of images between media, principles of design in visual communication, and the visual culture of literacy in the later Middle Ages. She has also recently published in the interdisciplinary field of the Scholarship of Teaching and Learning. Dr. Finch is presently working on a book project titled Hybrid Literacy: Visual Narratives and the Medieval Reader.
Tracy Chapman Hamilton
is Visiting Associate Professor at Virginia Commonwealth University. Her research focuses on late medieval and early modern visual culture in Europe and the Mediterranean, especially rooted in questions of gender studies, collecting, spatiality, and material culture. How women made themselves visible through patronage is the subject of her book Pleasure and Politics at the Court of France: The Artistic Patronage of Queen Marie of Brabant (1260â1321) (Brepols, 2019). She is currently working on a series of articles, her second book, The Ceremonial Landscape: Art, Gender, and Geography in Fourteenth-Century Europe and the Mediterranean, and a digital project, Mapping the Medieval Woman, with Mariah Proctor-Tiffany. Hamilton has held fellowships from the National Endowment for the Humanities, the Kress and DuPont Foundations, the International Center of Medieval Art, and in 2016â2017 was the first Mellon Fellow in the Digital Humanities at The Villa I Tatti, Harvard Universityâs Center for Italian Renaissance Studies.
Joan Holladay
is Professor of the History of Art at the University of Texas at Austin. She has published on Jeanne dâÃvreux and her books and those of other queens, especially Jeanneâs Hours now at the Cloisters. She is the author of Illuminating the Epic: The Kassel Willehalm Codex and the Landgraves of Hesse in the Early Fourteenth Century, which appeared in the monograph series of the College Art Association, and co-editor of Gothic Sculpture in America 3: The Museums of New York and Pennsylvania, a publication of the International Center of Medieval Art. Cambridge University Press will publish Genealogy and the Politics of Representation in the High and Late Middle Ages in 2019. Other work has examined issues in the medieval art of Cologne and Zurich.
Jitske Jasperse
is currently Assistant Professor at the Humboldt-Universität, Institut für Kunst- und Bildgeschichte, Berlin. She received her PhD from the University of Amsterdam in 2013 and held a postdoctoral position at the Consejo Superior de Investigaciones CientÃficas in Madrid (2016â2018). Her research focuses on art, material culture, medieval women, and dynastic connections from the eleventh to thirteenth centuries. Recent publications have appeared in Studies in Iconography (39, 2018), Mediaevistik. International Journal of Interdisciplinary Medieval Research (30, 2018) and Journal of Medieval History (43, 2017). Her book project, Performance of Power in the Middle Ages: Matildaâs Material Culture, is under contract with Arc Humanities Press. Jasperse serves on the editorial board of CARMEN Monographs and Studies and was a founding member of the Center for Medieval and Renaissance Studies in Amsterdam.
Marguerite Keane
is Associate Professor of Art History at Drew University, in Madison, New Jersey. Her research focuses on the material culture of the Late Middle Ages in France, with particular interest in fourteenth-century art collections of women. She has published on French manuscript painting, on the concept of value in the collection of the French queen Blanche of Navarre, as well as on Blancheâs tomb chapel at Saint-Denis. Her recent book on the object collection of Blanche of Navarre is titled Material Culture and Queenship in Fourteenth-Century France: The Testament of Blanche of Navarre (1331â1398) (Brill, 2016).
Amanda Luyster
received her PhD from Harvard University and has been teaching at the College of the Holy Cross in Worcester, Massachusetts, since 2006. She specializes in the study of the art of the thirteenth and fourteenth centuries in France, England, and Islamic Spain, with particular attention to secular production and cross-cultural contact. She has published articles in journals such as Word & Image, Medieval Encounters, and Gesta, as well as in exhibition catalogues and anthologies. She has won fellowships from the National Endowment for the Humanities, the Aga Khan program, the Woodrow Wilson foundation, and the Paul Mellon Centre, among others. She was recently elected to the International Center of Medieval Art Board of Directors. Her current book project considers the cosmopolitan construction of English kingship by reassessing an enigmatic set of floor tiles, the Chertsey combat tiles (ca. 1250), concluding that they testify to sustained dialogue with eastern Mediterranean cultures.
Kathleen Nolan
is Professor of Art History at Hollins University. She first published on royal women and their cultural patronage in an essay in Memory and the Medieval Tomb (Ashgate 2000, edited by Elizabeth del Alamo with Carol Stamatis Pendergast). She is the editor of Capetian Women (Palgrave, 2003) and the author of Queens in Stone and Silver: The Creation of a Visual Imagery of Queenship in Capetian France (Palgrave, 2009). Recent work on allegorical women in monumental sculpture was included in the volume Arts of the Medieval Cathedrals: Studies on Architecture, Stained Glass and Sculpture in Honor of Anne Prache, which she co-edited with Dany Sandron (Ashgate, 2015).
Mariah Proctor-Tiffany
is Associate Professor of Art History at California State University, Long Beach, where she teaches medieval and Islamic art and architecture. Her research focuses on medieval women and their circulation of art. Her book Medieval Art in Motion: The Inventory and Gift Giving of Queen Clémence de Hongrie was published by Pennsylvania State University Press. She and Tracy Chapman Hamilton were fellows at the Samuel H. Kress Digital Mapping and Art History Institute, where they began their digital project Mapping the Medieval Woman. In addition to Proctor-Tiffanyâs continued work on medieval women, she is writing about the Islamic art collection of Doris Duke. She earned her PhD in the History of Art and Architecture from Brown University, and she has been the recipient of grants and awards from the Andrew W. Mellon Foundation, the Samuel H. Kress Foundation, Brown University, the Medieval Academy of America, and the International Center of Medieval Art.
Lana Sloutsky
earned her PhD in 2017 from the Department of Art and Architecture History at Boston University, where her work focused on the role of early modern Mediterranean women in preserving ethno-religious identity. Her current research centers on the social dynamics of cultural translation and identity preservation. She has received funding from The American Philosophical Society, The Renaissance Society of America, The Gladys Krieble Delmas Foundation, and the Boston University Graduate School of Arts and Sciences. She teaches art history in the Boston area and regularly lectures at the Museum of Fine Arts, Boston. She is also the editor of H-Medieval, the H-Net network on the history, culture, religion, and society of medieval Europe.
Anne Rudloff Stanton
is Associate Professor of Medieval Art History in the School of Visual Studies at the University of Missouri and publishes on illuminated manuscripts and material culture in early fourteenth-century England. Her first book, The Queen Mary Psalter: A Study of Affect and Audience (2001) received the Millennium Award from the American Philosophical Society. Her current research explores relationships between storytelling, devotional practice, page design, and material context in a group of heavily illuminated prayerbooks, several of which were made for the use of Isabella of France, Queen of England. Isabellaâs 1358 post-mortem inventory, explored in this volume, provides an unusually fine-grained glimpse into the material culture of a notorious medieval queen and broadens our understanding of the context in which the queenâs prayerbooks would have operated.
Nancy L. Wicker
is Professor of Art History at The University of Mississippi. Her interdisciplinary research focuses on the art of Scandinavia from the Migration Period through the Viking Age (fifth through eleventh centuries). She has held fellowships from the National Humanities Center, the National Endowment for the Humanities, and the American Council of Learned Societies and was a participant in the Getty Foundation Seminar âThe Arts of Romeâs Provinces.â In addition, she has been a Visiting Professor at Uppsala University in Sweden, is the first female foreign member of the Philosophical-Historical Section of the Royal Society of Humanities at Uppsala, and is the only American member of the Sachsensymposium. Wicker is a co-chair of the Archaeology and Gender in Europe working group and has co-edited three books on gender and archaeology. She is co-director of Project Andvari, funded by a National Endowment for the Humanities Digital Humanities Start-Up Grant.
Talia Zajac
is currently the Eugene and Daymel Shklar Research Fellow at the Harvard Ukrainian Research Institute. She holds a PhD from the Centre for Medieval Studies at the University of Toronto (2017) and has previously served as a course instructor at the University of Toronto Mississauga. Her research, which focuses on the political activities and religious-cultural patronage of Latin Christian brides who came to Rusââand vice versa, Rusâ-born consorts of Western medieval rulersâhas appeared in the Royal Studies Journal (2016) and the Proceedings of the Fourteenth International Congress of Medieval Canon Law (Biblioteca Apostolica Vaticana, 2016). In addition, a chapter on the social and political roles exercised by the princess in early Rusâ appears in in A Companion to Global Queenship, ed. Elena Woodacre (Leeds: ARC Humanities Press/Amsterdam University Press, 2018).
Benjamin Zweig
is the Digital Projects and Scholarship Coordinator at the National Gallery of Art. He earned his PhD in the history of art from Boston University with a dissertation on the representation of suicide in medieval art. His research explores the intersection of image-making and intellectual history from Late Antiquity through the Late Gothic. He has a particular interest in the art and architecture of the medieval Baltic. His research extends into the digital humanities and focuses on topics such as the impact of technology on iconographic studies and the intersection of machine vision learning and art history. He was previously the Robert H. Smith Postdoctoral Research Association at the Center for Advanced Study in the Visual Arts (CASVA), and has been the recipient of awards from Boston University, the Kress Foundation, the Society for the Advancement of Scandinavian Study, and the Fulbright program.