Notes on Contributors
Katherine M. Bentz
is Associate Professor of Art History at Saint Anselm College. Her research focuses on urbanism, landscape and garden history, and antiquities collections in early modern Rome. She has received fellowships from the NEH, Dumbarton Oaks, the Getty Research Institute, the Mellon Foundation, and Villa I Tatti. Her article, “The Afterlife of the Cesi Garden: Family Identity, Politics, and Memory in Early Modern Rome” (JSAH, 2013) received the 2016 Essay Prize from the Landscape History Chapter of the SAH. Her essay in this volume draws from her book project, which examines villas built by prelates in the sixteenth century.
Jessica Boehman
is Associate Professor of Fine Arts and Art History at CUNY’s LaGuardia Community College in New York City. She earned her degrees in Art History—a master’s from Penn State University and a PhD from the University of Pennsylvania—both with a focus on Italian Baroque sculpture. She was a Fulbright Scholar to Italy in 2006–2007. Currently, Jessica teaches both Art History and Illustration, and is also active as a children’s book illustrator. As an historian and artist-practitioner, Jessica focuses her art historical research on the art produced in sculptor’s studios in the Roman circle of Bernini.
Theresa Kutasz Christensen
is a curator and art historian whose work focuses on the re-use of the past in art and architecture and the lives of objects. She has particular interest in the history of collecting and display in the early modern period and specializes in antiquarianism, the art market in Rome, and women as collectors. Theresa is the recipient of a Fulbright grant to Sweden and has held teaching, research, and curatorial positions at the Pennsylvania State University, the Smithsonian Freer and Sackler Galleries, the Smithsonian American Art Museum, the Smithsonian Archives of American Art, the Palmer Museum of Art, and the Detroit Institute of Arts. She is originally from Portland, Oregon and holds a BA from the University of Puget Sound as well as an MA and a PhD in Italian Renaissance and Baroque art history from the Pennsylvania State University.
Jennifer Cochran Anderson
is an independent art historian working in Austin, Texas. Her current research focuses on the historical “afterlives” of Ireland’s wooden devotional sculptures dating to the Lordship (1177–1542) and Suppression (1535–1800) eras and she is presently preparing a book project on that topic.
Denise Costanzo
is Assistant Professor of Architecture at the Pennsylvania State University, where she teaches theory and history. Her current book projects, Modern Architects and the Problem of the Postwar Rome Prize: France, Spain, America and Britain (University of Virginia Press), and the co-edited (with Andrew Leach) Italian Imprints: Issues and Influences in the Architectural Culture of the Long Twentieth Century, extend her work on the legacy of Italy in twentieth-century architectural culture. Her essays appear in numerous peer-reviewed journals and edited volumes, and she is the author of What Architecture Means: Connecting Ideas and Design (Routledge: 2015).
Elizabeth Petersen Cyron
graduated from Penn State University in 2019, after completing a dissertation entitled Architecture and Audience in Donatello’s Early Florentine Reliefs. Although Brian passed away before she completed her degree, his guidance and vested interest in her project helped Elizabeth progress. She is continuing her research on Donatello’s use of fictive architecture as a means for narrative and is exploring the sculptor’s reliefs on the high altar in Sant’Antonio, Padua. Elizabeth is currently teaching courses at Gettysburg College and Kutztown University, and hopes to inspire a new generation of students the way Brian did at Penn State.
Anthony Cutler
is the Evan Pugh Professor of Art History emeritus at Penn State. He was a member of the Institute for Advanced Study and a resident in art history at the American Academy in Rome. He held four fellowships at Dumbarton Oaks, and was Paul Mellon Fellow at the Center for Advanced Study in the Visual Arts. He received the Humboldt Research Prize in 2001–2002. Cutler was a Fellow of the John Simon Guggenheim Foundation for 2002–2003 and elected a Fellow of the Medieval Academy in 2005. In 2011–2012 he was Slade Professor of Fine Art at Oxford.
Douglas N. Dow
is Associate Professor of Art History at Kansas State University, where he teaches courses on Renaissance and Baroque art. His publications focus on late sixteenth-century Florentine art, and include Apostolic Iconography and Florentine Confraternities in the Age of Reform (2014) as well as essays in edited volumes and articles in peer-reviewed journals. He is currently preparing a book that examines how the history of style, religious reform, and the patronage of art in late Cinquecento Florence intersect in the sacred paintings of Bernardino Poccetti.
Marilyn Aronberg Lavin
has taught art history at Washington University, Yale, Princeton, and the Università di Roma, La Sapienza. Her work is in Italian art, with emphasis on Piero della Francesca. Perhaps her best-known books are on Piero’s Flagellation, and his Baptism. Her 3-D walk-through model of his Arezzo chapel is available online. She has also published on medieval Roman mosaics, and on the subject of the Song of Songs. For her Seventeenth-Century Barberini Documents and Inventories of Art, she received the C. R. Morey award for distinguished scholarship, and her book The Place of Narrative: Mural Decoration in Italian Churches, was “First Place Winner” in the Chicago Women in Publishing Award.
Stuart Lingo
is Donald E. Petersen Professor in the Division of Art History at the University of Washington. He is currently completing Bronzino’s Bodies and Mannerism’s Masks, which re-reads “Mannerism” through its twin investments in the nude and the mask. A new project, Painting’s Dreams at the End of the World: America, Ancient Grotesques, and Artistic Invention c. 1500, reconsiders the origins of the “High Renaissance” in relation to the decisive European encounter with America. Professor Lingo’s work has been supported by the Center for Advanced Study in the Visual Arts at the National Gallery and by Villa I Tatti, the Harvard University Center for Italian Renaissance Studies.
John A. Pinto
is the Howard Crosby Butler Memorial Professor of the History of Architecture, Emeritus in the Department of Art and Archaeology at Princeton University. A Fellow of the American Academy in Rome, Pinto’s research interests center on architecture, urbanism, and landscape in Rome, especially in the eighteenth century. Among his publications are The Trevi Fountain (1986), Hadrian’s Villa and its Legacy (1995, co-authored with William L. MacDonald), Speaking Ruins: Piranesi, Architects and Antiquity in Eighteenth-Century Rome (2012), and City of the Soul: Rome and the Romantics (2016).
Ingrid Rowland
is Professor of History at the University of Notre Dame’s Rome Global Gateway. She first met Brian Curran in Italy, both of them in hot pursuit of the early modern forger Annius of Viterbo. A frequent contributor to the New York Review of Books, she has written more than a dozen books on Italian subjects, including The Scarith of Scornello: A Tale of Renaissance Forgery (2004), The Divine Spark of Syracuse (2018), From Pompeii: The Afterlife of a Roman Town (2015), and, with Noah Charney, The Collector of Lives: Giorgio Vasari and the Invention of Art (2017).
Robin Thomas
Associate Professor of Art History and Architecture at the Pennsylvania State University, specializes in Italian baroque architectural history. He has published extensively on the city of Naples and is author of Architecture and Statecraft: Charles of Bourbon’s Naples, 1734–59. His current book project examines the palaces of Capodimonte, Caserta, and Portici.
Louis Alexander Waldman
received his BA from Hunter College, CUNY, and his MA and PhD from the Institute of Fine Arts, NYU. He is Associate Professor of Art History at the University of Texas at Austin and was formerly Assistant Director for Programs at Villa I Tatti, The Harvard University Center for Italian Renaissance Studies.
William Wallace
is the Barbara Murphy Bryant Distinguished Professor of Art History at Washington University in St. Louis. He is the author or editor of eight different books on Michelangelo, including Michelangelo at San Lorenzo: The Genius as Entrepreneur (1994), Michelangelo: The Complete Sculpture, Painting and Architecture (1998), and Michelangelo: The Artist, the Man and his Times (2010/11). His most recent book about the artist in his 70s and 80s, Michelangelo, God’s Architect: The Story of His Final Years and Greatest Masterpiece, will appear shortly in paperback.