Notes on the Contributors
Elisa Antonietta Daniele
has completed her Ph.D. in 2018 in Art History at the Inter-University Doctoral School Ca’ Foscari Venice – IUAV – Verona. In 2018–19, she was a Ahmanson-Getty Postdoctoral Fellows at the William Andrews Memorial Clark Library and Center for the 17th and 18th Century Studies at the University of California, Los Angeles. She has published articles on the representation of Paradise in the fifteenth century in Italian and Flemish art. Her forthcoming article on the courtly ballet Il Tabacco (Turin, 1650) reflects her current research on spectacles staged at the Baroque Savoy court under the regency of Christine of France.
Hilary Haakenson
is an Associate Professor at California State Polytechnic University at Pomona. She earned her Ph.D. in Renaissance Art History from Rutgers University. Her chapter in this volume is part of her research for a book project that examines projections of empire in early Italian cartography and in the grand civic monuments commissioned by several maritime cities in Italy: Venice, Pisa, Genoa, and Naples. She explores how maps and monuments visualized the cultural encounters occurring in and around the Mediterranean Sea, and how, in turn, art shaped the medieval and early modern European visions of the world. Before joining Cal Poly Pomona in Los Angeles, she taught at the University of Connecticut, Murray State University, and Rutgers University.
Elizabeth Horodowich
is Professor of History at New Mexico State University, where she teaches and researches early modern European history with a focus on sixteenth-century Italy and Venice. Her recently published edited volume, Italy and the New World, 1492–1750, with Lia Markey (2017), as well as her monograph, The Venetian Discovery of America: Geographic Imagination and Print Culture in the Age of Encounters (2018) both explore the reception of New World knowledge in Italy and the ways that Italian representations of the New World were crucial to the invention of America. Her research in progress – a monograph and website entitled Amerasia: A European Discovery in the First Global Age (co-authored with Alexander Nagel) – explores the myriad ways that Europeans understood and represented America as Asia during the course of the sixteenth century.
Ann Rosalind Jones
is Esther Cloudman Dunn Professor Emerita of Comparative Literature at Smith College. Her books include a translation, with Margaret Rosenthal, of The Clothing of the Renaissance World: Cesare Vecellio’s Habiti Antichi et Moderni (2008) and, with Peter Stallybrass, Renaissance Clothing and the Materials of Memory (2000). Her current project is a study of the costume-book genre, combining prints and texts about dress worldwide (Global Habits: The Early Modern Costume Book, 1560–1660).
Paul H.D. Kaplan
is Professor of Art History in the School of Humanities at Purchase College, SUNY, where he joined the faculty in 1988. He is a graduate of Hampshire College and Boston University, where he received his doctorate in 1983. He is the author of The Rise of the Black Magus in Western Art (1985) and Contraband Guides: Race, Transatlantic Culture and the Arts in the Civil War Era (2020), and also of numerous essays on European and American images of black Africans and Jews, and on political, military and feasting imagery in Venetian art, especially in the work of Giorgione, Titian and Veronese. He is a major contributor to volumes 2, 3 and 4 of Harvard University Press’s new edition of The Image of the Black in Western Art (2010–2012). His current projects include a guidebook to the African presence in Venice and a study of changes in European images of black Africans around 1600.
Marion Romberg
is currently co-heading the research project “The Viennese Court. A prosopopraphical portal” (VieCPro) at the Austrian Academy of Sciences (Vienna), and is lecturer at the University of Vienna’s and University of Bonn’s Departments of History. Prior to that, she worked in various research projects: 2017–2020 “Empress and Reich. Ceremonial, Media and Rule from 1550 to 1740/45” (FWF, Vienna); 2017 “Baroque Fraternities as Patrons of Arts in Parish Churches” (Gerda Henkel Foundation, Düsseldorf); 2012–2015 “Continent Allegories in the Baroque Age” (FWF, Vienna, online: https://erdteilallegorien.univie.ac.at), 2007–2010, “The diaries of Cardinal Ernst Adalbert von Harrach (1598–1667). Edition and Commentary” (FWF, Vienna). She has recently published her doctoral thesis on continent allegories in parish churches in the Prince bishopric of Augsburg in the 18th century: Die Welt im Dienst des Glaubens. Erdteilallegorien in Dorfkirchen auf dem Gebiet des Fürstbistums Augsburg im 18. Jahrhundert (2017) and co-edited the book The Language of Continent Allegories in Baroque Central Europe with Wolfgang Schmale and Josef Köstlbauer (2016).
Mark Rosen
is Associate Professor at the Edith O’Donnell Institute of Art History, at the University of Texas at Dallas and the author of The Mapping of Power in Renaissance Italy (2015). A specialist in the art and cartography of early modern Italy, he has published in The Art Bulletin, Nuncius, Oud Holland, Mitteilungen des Kunsthistorischen Institut in Florenz, and Source, among other journals. From 2019 to 2021 he is serving as President of the Italian Art Society, an organization dedicated to the study of Italian architecture from prehistory to the present. He is currently at work on a book about the bird’s-eye view and the visual rhetoric of seeing from above.
Benjamin Schmidt
is the Costigan Professor of History at the University of Washington in Seattle. He has published widely on early modern cultural, visual, and material history, his work focusing particularly on Europe’s engagement with the non-European world. His books include Innocence Abroad: The Dutch Imagination and the New World (2001); Making Knowledge in Early Modern Europe: Practices, Objects, and Texts, 1400–1800 (2007; with Pamela Smith); The Discovery of Guiana by Sir Walter Ralegh (2008); and Going Dutch: The Dutch Presence in America, 1609–2009 (2008; with Annette Stott). His latest book, Inventing Exoticism: Geography, Globalism, and Europe’s Early Modern World (2015), explores the development of European “exoticism” – ways of looking at, imagining, and representing the world across multiple media – in the early years of global encounter.
Chet Van Duzer
is a board member of the Lazarus Project at the University of Rochester, which brings multispectral imaging to cultural institutions around the world. He is the author of The World for a King: Pierre Desceliers’ Map of 1550 published in 2015 by the British Library, and in 2016 Brill published a book he co-authored with Ilya Dines, Apocalyptic Cartography: Thematic Maps and the End of the World in a Fifteenth-Century Manuscript. In 2019 Springer published his book Henricus Martellus’s World Map at Yale (c. 1491): Multispectral Imaging, Sources, and Influence. His most recently recently published book is Martin Waldseemüller’s Carta marina of 1516: Study and Transcription of the Long Legends (2020). His current project is a book about cartographic cartouches.
Bronwen Wilson
is Professor of Renaissance and Early Modern Art at University of California, Los Angeles. Her research and teaching explore the artistic and urban culture of Renaissance Italy and early modern Europe. The histories of Venetian art, of space and vision, and of European perceptions of the Ottoman Turks are important for several publications, including The World in Venice: Print, the City, and Early Modern Identity (2005, winner of the Roland H. Bainton prize for Art History in 2006), and a recently completed book, Inscription and the Horizon in Early Modern Mediterranean Travel Imagery. She is currently a co-investigator in “Making Worlds: Art, Materiality, and Early Modern Globalization,” and co-editor, with Angela Vanhaelen, of two volumes for that project. With Paul Yachnin, she is co-editor of a book series, Conversions: Religions, Cultures, and Transformations in Early Modern Europe and its Worlds, and a volume, Conversion Machines: body, artifice, apparatus.
Michael Wintle
is Professor Emeritus of Modern European History at the University of Amsterdam, where he taught from 2002 to 2019 and was head of the department of European Studies. He studied at Cambridge, Ghent and Hull Universities, and prior to 2002, was Professor of European History at the University of Hull, UK, where he had taught since 1980. He has published widely on Dutch and European history, including the following recent books: The Image of Europe (2009); European Identity and the Second World War (ed. with M. Spiering, 2011); The Historical Imagination in Nineteenth-Century Britain and the Low Countries (ed. with H. Dunthorne, 2013); and Narratives of War (ed. with N. Adler and R. Ensel, 2019). His Eurocentrism: history, identity, White Man’s Burden is published with Routledge in 2020, and he currently works on Europe’s resilient capacity for reinventing itself in a positive light.