GIANLUCA AMATO was born in Messina. He completed his university studies in Messina, Siena and Naples. He is Senior Research of Modern Art History at the University of Siena (Department of History and Cultural Heritage). His research and publications concern the Italian late Middle Ages and Renaissance, with particular attention to sculpture and painting between Florence and Siena.
Leticia Azcue Brea
LETICIA AZCUE BREA achieved grants to widen studies in Museology in Italy (Royal Academy in Rome), Great Britain (Norfolk Museum System), and in the USA (Fine Arts Museum, Boston). She received her PhD in 1991, qualified with First Class Honour, with the dissertation The Museum of the Royal Academy of Fine Arts of San Fernando: the sculpture and the Academy, published in 1994. Member, after sitting the exams, of the Facultative Body of Museum Curators since 1985, Azcue has been Curator at the Ministry of Culture, Deputy Director of the Museum of the Royal Academy of Fine Arts of San Fernando, and Deputy Director of Cultural Action and Historical Patrimony in the Ministry of Defense. Since 2004, she is Senior Curator of Sculpture and Decorative Arts at the Prado National Museum. Researcher on sculpture from the 18th to the 20th centuries, Azcue has also worked on issues of Museology and legislation. In 2013 she was the Curator, together with Lucrecia Enseñat Benlliure, of the exhibition Mariano Benlliure. The sculptor master in all materials, and in 2016 she has curated the exhibition Solidity y Beauty. The sculptor Miguel Blay at the Prado Museum. She is currently writing the catalogue of the XIX century sculpture collection of the Prado Museum.
GIOACCHINO BARBERA, art historian and Senior Manager in the roles of the Sicilian Region from 1983 to 2016, he was Director of the Artistic Heritage section of the Superintendency of Syracuse for many years; then he was Director of the Regional Museum of Messina and, lastly, Director of the Regional Gallery of Sicily in Palazzo Abatellis in Palermo. He has published many essays and fact sheets on Sicilian art history topics in specialized magazines, exhibition catalogues and conference proceedings, with particular regard to the painting from the fifteenth to the early twentieth century. One of his best-known publication is the monograph Antonello da Messina (Electa, Milano 1998; French edition, Gallimard, 1998). Sicilian painting specialist of the nineteenth and early twentieth centuries, of his contributions on the subject we highlight the essay in La pittura in Italia. L’Ottocento (Electa, Milano 1991) and, with other authoritative scholars, the care of the exhibition Francesco Lojacono 1838-1915 (Silvana Editoriale, Milano 2005) and of the Galleria d’Arte moderna di Palermo. Catalogo delle opere (Silvana Editoriale, Cinisello Balsamo 2007).
CECILIA CANZIANI (Rome, 1976) is an independent curator and art historian. She obtained her PhD at the doctoral school in Art History, Archeology and History, University of Naples Federico II in 2014, with a research titled “The memorial and the filmic”. She is Adjunct Professor at the American University in Rome, Department of Art History and at the University of Rome Tor Vergata where she is teaching Contemporary Art in the frame of the Master “Art History in Rome”. She is currently collaborating with La Galleria Nazionale di Arte Moderna in Rome, as co-curator of the exhibition Io dico io, stemming of the archive of Carla Lonzi and her legacy; and with MAXXI L’Aquila for a special commission in collaboration with V-A-C Foundation, Moscow. She was part of the research group on public sculpture in Italy, published by MIBAC on the web platform Luoghi del contemporaneo in April 2020. She is a regular contributor of Flash Art and has been writing extensively in catalogues and monographies for many contemporary international and Italian artists.
VALERIA CARUSO is a freelance art historian and secondary school teacher. She graduated with a study about medieval norman architecture in southern Italy and pursued a master’s degree with a research about wooden choir stalls of the modern era in the area of Irpinia. Recently she carried out a work of cataloguing focused on the Great War memorial monuments in Campania for the CRBC and SIGECWEB platform of the Italian Ministry of Cultural Heritage and Activities for Tourism.
CRISTINA CASERO is contemporary art historian and professor of the History of Art and the History of Photography at the University of Parma. His studies were initially focused on the experiences of World War II Italian figurative culture and nineteenth-century Italian sculpture, with particular interest in the production of visual links with the political, social and civil rights of the ‘Italy of the time (Enrico Butti. Un giovane scultore nella Milano di fine Ottocento, Franco Angeli, Milano 2013 and La “scultura sociale”, tra il vero e l’ideale. Realismo e impegno nella plastica lombarda di fine Ottocento, Scripta Edizioni, Verona 2013). On this line are the most recent surveys, over the last forty years of the twentieth century, especially dedicated to the photographic image, in its various meanings. In 2016 she published Paola Mattioli. Lo sguardo critico di una fotografa (PostmediaBooks, Milano).
MARCO COLLARETA was born in Merano (BZ) on 8 March 1952. He graduated in 1975 from the University of Pisa with a thesis on the history of art criticism. He was a researcher at the Scuola Normale Superiore of Pisa from 1980 to 1993; associate professor at the University of Udine from 1993 to 1997 and at the Scuola Normale Superiore of Pisa from 1997 to 2002; full professor at the University of Bergamo from 2002 to 2008. Since 2008 he has been teaching as full professor at the University of Pisa. His research interests focus on European art between the Late Middle Ages and the early modern era, with contributions relating to the history of the arts system, the birth of the artist’s biography, and the technical and stylistic aspects of the history of sculpture and goldsmith’s art.
ADRIANA CONCONI, art historian, has diligently investigated and currently specializes in Nineteenth-century and Twentieth-century Italian sculpture in Lombardy. She is the author of the monograph volume Giovanni Battista Lombardi (2006), recipient of the G.P. OrselloCittà di S. Marinella Culture Award under the High Patronage of the President of the Republic, which she officially received at the Capitoline Hill in Rome. Co-author with Piero and Giovanni Lechi of the volume La Grande Collezione (2010), she dedicated a chapter on the sculptural section of the collection. She collaborated with the Certosa di Bologna writing essays and texts for its exhibitions. She has been in charge of the didactic texts for the catalog of the exhibition Montezuma, Fontana, Mirko – mosaic sculpture from its origins to the present, curated by Alfonso Panzetta and held at the MIUR – Art Museum of the city of Ravenna (2017). She has been the Curator of several exhibitions and awards, as well as author of many catalogs. Currently, she is working on the monograph volume dedicated to the sculptor Giovanni Emanueli.
William Cortès Casarrubios
WILLIAM CORTÈS CASARRUBIOS is a PhD student in Art History at the University of Udine. He graduated in 2018 at the same University in History of Art – with a thesis on Renzo Piano as an architect of monographic museums. From 2013 to 2018, he attended the Scuola Superiore in Udine, institute of excellence where he obtained in 2019 the degree with 110 cum laude. He also acquired a Master in Art Museum and Gallery Studies at the University of Leicester. The final dissertation was an exhibition proposal on European post-war sculpture, which received the prestigious Henry Moore Institute Dissertation Prize 2019 for the best thesis on sculpture written in the United Kingdom. He spent periods of research at the Centre Pompidou in Paris, at the Menil Collection in Houston and at the Henry Moore Institute in Leeds. In Florence, he participated at the ArCo International Conference 2020 to discuss his research on the Emilio and Annabianca Vedova Foundation in Venice.
VIVIANA COSTAGLIOLA is an art historian and currently a post-doctoral researcher at the Bibliotheca Hertziana Max-Planck Institute for Art History, with a project about the photographic documentation of the art-historical heritage of Naples and southern Italy (1861-1914). She graduated in art history from the University of Naples Federico II where she also received her Ph.D. in art history in May 2020. Her doctoral dissertation was focused on the Observant Franciscan church of Santa Maria la Nova in Naples. During the doctoral program, she was a fellow at the International Society of Franciscan Studies (Assisi) and the Italian Institute of Philosophical Studies (Naples). In 2022 she was also a research fellow at the Freie Univeristät Berlin, Cluster of Excellence “Temporal Communities,” with a project entitled Agent of blindness: travel guides and photography of Southern Italy (1869- 1927). Part of this work has been presented in the past year at the Kunsthistorisches Institut (Florence), the Center for Italian Modern Art (New York), and the Italienzentrum of the Freie Universität (Berlin).
STEFANO CRACOLICI is Professor of Italian Art and Literature at Durham University. He received an MD degree from the Albert-Ludwig Universität in Freiburg, a laurea in Literature from the University of Trento, a PhD in Italian Studies from the University of Toronto. He has worked at Dartmouth College and the University of Pennsylvania, and published on Alberti, courtly poetry, the medical and humanistic discourse on love, the Arcadian Academy, and on nineteenth-century art in Europe and Latin America. He has been Scholar in Residence at the Getty Research Institute, Visiting professor at the University of São Paulo, UK-Mexico Visiting chair at the UNAM, Francesco De Dombrowski Visiting Professor at the Villa I Tatti, and Director of the Zurbarán Centre for Spanish and Latin American Art at Durham University.
MARIADELAIDE CUOZZO teaches “Contemporary Art History” at University of Basilicata, in both Departments of Human Sciences, located in Potenza, and European and Mediterranean Cultures, located in Matera. In both Departments, she has also several institutional responsabilities. She is a member of the Scientific Board of the PhD in “Storia, culture e saperi dell’Europa Mediterranea dall’antichità all’età contemporanea” at University of Basilicata. Her research activity has up to now concerned the arts between XIX and XX centuries and contemporary arts, with a specific interest in southern Italy, and the relationships between art, cultural industry and communication, with particular attention to the various sectors of applied graphics in Italy during nineteenth and twentieth century. She has published some monographs, some exhibition catalogs edited by her and numerous contributions for collective volumes, catalogs, scientific reviews and encyclopedic works. She is a member of the Scientific Board of the Project “Fronte della cultura”, by Matera-Basilicata 2019 Foundation. She has been a member of some PRIN and CNR Research projects. She has curated some exhibitions and participated in several scientific boards of other exhibitions.
Anna Maria Damigella
ANNA MARIA DAMIGELLA is an art historian and has taught at the Academy of Fine Arts in Rome. She is the author of monographs, catalogs, essays on artists and artistic movements from the second half of the 19th to the early 20th century. She has written on Gauguin, on Symbolist Painting in Italy (1981), on Symbolist graphics and illustration, on D. Cambellotti, on G. Pellizza, on D. Baccarini, on G.A. Sartorio, on G. Bargellini, on G. Sciuti, on B. Cascella, on G. Martoglio, on “I XXV” della Campagna Romana, on the Liberty in Eastern Sicily, on the architect S. Fragapane, on the decorator G. Rosso. She has published several studies dedicated to sculpture: S. Grita e il Realismo nella Scultura, 1998; La scultura del Pensionato Artistico Nazionale 1891-1940, 2007; the essays on M. La Spina and A. Zanelli; the volumes D.U. Diano. Arte decorativa e scultura monumentale negli anni Venti-Trenta, 2014, e S. Buemi. La scultura dall’osservazione del vero alla sintesi ideale, 2016. Among the most recent studies are also: the volume L. Capuana e le arti figurative, 2012; the essays on G. Costantini, on P. Liotta and on the works of Bargellini and Cambellotti, in Artisti italiani in Terrasanta, by B. Mantura et al., 2017.
Adriana De Angelis
ADRIANA DE ANGELIS holds a PhD in Archaeology and History of Art together with four international master’s degrees in History of Architecture, Architecture | History | Design, Archaeological Sites Design and Standars for Museum Education. She has worked and done academic research at the University of Waterloo / Toronto, Canada, the IFA / Museum of Architecture in Paris, the Centre Pompidou / Bibliothèque Kandisky in Paris, the Gallery of Modern Art in Rome. She has participated in history of art conferences in Italy, France, Spain, Greece, Turkey, Denmark, England and her communications have been published in the conference proceedings. Cited for her researches and essays in several international art catalogues, she has national and international academic publications (one of her essays on the French artist Jean-Baptiste Isabey, accepted by La Gazette des Beaux-Arts, was published by L’Objet d’Art after the sudden closure of the historical magazine in December 2002), and regularly writes for Italian and foreign magazines on the history of art and architecture.
Guicciardo Sassoli de’ Bianchi Strozzi
GUICCIARDO SASSOLI DE’ BIANCHI STROZZI specialised at the University of Bologna. His research interests are the history of art criticism in the 19th and 20th centuries. He co-curated the Margherita Sarfatti exhibitions at MART and the Casa d’Arte Futurista Depero (Rovereto 2018) and was one of the organisers of the 35th CIHA World Congress of Art History (Florence 2019) alongside Marzia Faietti (Department of Prints and Drawings of the Uffizi) and the Kunsthistorisches Institut in Florenz – Max-Planck-Institute. Recently, he published the essay Margherita Sarfatti, Novecento and Futurism (De Gruyter, 2020), the volume Raffaello 1920-1922 Percezione / Raphael 1920-1922 Perceptions (Minerva, 2020) and curated the exhibitions and catalogues: Aroldo Bonzagni e il suo tempo (Bologna, Raccolta Lercaro, 13 November 2020 – 10 January 2021), Il Trittico del Centenario. Leonardo 1919 – Raffaello 1920 – Dante 1921 (Roma, Villa Farnesina, 16 June 2021 – 13 January 2022) and Omar Galliani Lorenzo Puglisi Tintoretto (Riga, The Art Museum Riga Bourse with Le Gallerie degli Uffizi, 21 August – 14 November 2021).
Françoise de La Moureyre
FRANÇOISE DE LA MOUREYRE, spécialiste de la sculpture française du XVIIè s. Diplômée d’histoire de l’art, Université Paris Sorbonne. Auteur du cat.: Sculpture italienne. Musée Jacquemart-André, Paris, éd. Musées nationaux, 1975. Co-auteur: French Sculptors of the 17th and 18th centuries. The reign of Louis XIV, 4 vol. 1977, 1981, 1987, 1993, Bruno Cassirer, Oxford, 1993 et Faber and Faber London ; article sur Vaux-le-Vicomte résultant du colloque Charles Le Brun, 2017, publié par le CRCV; Girardon. Le sculpteur de Louis XIV, Arthena, 2015. Co-auteur de catalogues d’expositions: Jacques Sarazin, sculpteur du roi (1592-1660), Musée du Noyonnais, 1992; Bronzes français de la Renaissance au Siècle des lumières, Paris Louvre, New York The Metropolitan Museum of Art, Los Angeles J.Paul Getty Museum, 2008-2009; Les Colbert, ministres et collectionneurs, Domaine de Sceaux, 2020 (à paraître). Nombreux articles principalement dans la Gazette des Beaux Arts et Bulletin de la Société de l’Histoire de l’Art français. Identifications et notices pour des sculptures de marchands d’art (Steinitz, Kugel, Ambroselli, Quenetain). Membre du Comité scientifique pour le futur Musée du Grand Siècle à Saint-Cloud.
Maria Simonetta De Marinis
MARIA SIMONETTA DE MARINIS (Naples, 28th October 1958) graduated in Modern Literature with Historical – Artistic address and obtained a diploma from the two-year Specialization School in History of Medieval and Modern Art of the “Federico II” University of Naples. Professor of Art History in Classical High School, she also taught in SICSI at the University of Campania ‘Luigi Vanvitelli. She is part of the scientific committee of the ‘Masaniello’ Southern Culture Award. She has numerous publications to her credit, including the monograph Il tempo, la vita e l’arte di Achille d’Orsi (Japadre, 1984); the monograph Gemito, with a preface by Ferdinando Bologna (Japadre, 1993); Ai confini d’Europa. Scultori meridionali a Napoli tra Ottocento e Novecento (Istituto di studi filosofici di Napoli 2009); Vita e opere di Vincenzo Gemito, in Gemito (Electa, 2009); Oltre la materia in Bachelardiana (Type&Editing, 2012); Dittico d’arte-Achille d’Orsi e Vincenzo Gemito (ESI, 2016); Gemito. Una rivoluzione in scultura, in Da De Nittis a Gemito. I napoletani a Parigi negli anni dell’Impressionismo (Sagep, 2017); Vincenzo Gemito, l’antico ritrovato, in Gemito, Mancini e il loro ambiente. Opere giovanili (Gomp, 2017); Le Metamorfosi dell’anima. Amedeo Modigliani e Pablo Picasso da Montmartre a Napoli (Sagep, 2018); Gemito e la terracotta, in Gemito dalla scultura al disegno (Electa, 2020).
ANNE-LISE DESMAS is Senior Curator and Head of the Sculpture and Decorative Arts Department at the J. Paul Getty Museum. She received her Diplôme de recherche from the École du Louvre and a Ph.D. in art history from the Sorbonne, and was a pensionnaire of the Villa Medici-Académie de France. Her research, upon which she has published extensively, focuses on Italian and French sculpture of the 17th- 19th centuries (see her book, Le ciseau et la tiare, École française de Rome, 2013). At the Getty, she has worked on several exhibitions and catalogs, including Bernini and the Birth of Baroque Portrait Sculpture (2008) and Bouchardon: Royal Artist of the Enlightenment (2016). She is currently preparing a catalog raisonné of the Getty’s French sculpture collection and, with a colleague at the Art Institute of Chicago, an exhibition and catalog on the sculptor Camille Claudel (2023-24).
Ada Patrizia Fiorillo
ADA PATRIZIA FIORILLO is an associate professor of the History of Contemporary and Phenomenology of contemporary art at the University of Ferrara. Historian and art critic, she has also been enrolling as publicist in “Ordine della Stampa” since 1990. She directs the “Annali on-line” (Letters section) of the same university, for which she is responsible for the Art section. Among her research interests the study of the events and figures of Italian and European art of the twenthieth and twenty-first century, with particular attention to the aspects and dynamics of the contemporary sculpture. At the beginning of the 1990s Fiorillo was also involved in the study of the landscape of 19th and 20th century with particular interest in the study of known artists of Southern Italy, especially those coming from Amalfi Coast and Metellian Valley, which trace the course of the event of “grand tour”. She has been curator of many exhibitions. Among recent monographs and chapters of books are reported: La Scultura dopo il Duemila. Idolatria e iconoclastia, FRaC, Museo Fondo Regionale d’Arte Contemporanea, Baronissi (SA), 2015; Arte contemporanea a Ferrara. Dalle neoavanguardie agli esiti del postmoderno, Mimesis, Milano-Udine 2017; Rappel! Arte tra le due guerre, Mimesis, Milano-Udine 2019.
Maria Grazia Gargiulo
MARIA GRAZIA GARGIULIO is professor of History of Modern Art at the Academy of Fine Arts in Naples and of History of Applied Arts at the Academy of Fine Arts in Perugia. A scholar of Italian decorative arts, she is the editor of important publications. Author of two monographs dedicated to the master potter Sandro Vacchetti and the volume dedicated to Lenci graphics. She collaborates with Museums for Exhibitions and in the institutional activities of the superintendence; in 2010, he curated the Lenci Ceramics section for the Triennale di Milano Design Museum. In 2015, she conceived and curated the ceramics and decorative arts section at the Museo del Novecento in Naples. In 2018, he collaborated on the Lenci Ceramics exhibition at the Museo Internazionale della Ceramica in Faenza. From 2018 to the present, she is a member of the editorial secretariat of the scientific journal «Confronto». In 2020 she collaborated on the exhibition Liberty at the Gallerie d’Italia in Napoli. She has published articles in trade journals, essays and entries for exhibition catalogs and miscellaneous volumes, dealing with topics related to ancient and 20thcentury Italian Decorative Arts, the history of ceramics, sculpture, and modern and contemporary art.
CLARA GELAO (born in Bari in 1952) studied at the Universities of Bari and Naples. Her entire professional career at the Pinacoteca Corrado Giaquinto of Bari began as a scholarship holder in Museology in 1978, then she was appointed Inspector of Art History and, finally, Director since 1991 until September 2018, overseeing its growth and development. For many years she has acted as member of the executive committee of the Associazione Nazionale Musei di Enti Locali e Istituzionali (National Association of Local and Institutional Authorities Museums). During her long career as a scholar, she has focused her attention mainly on the history of art in the South of Italy, from the 15th to the 18th century, in particular Renaissance architecture, Venetian painting in Apulia and sculpture. To the latter, she has devoted numerous monographs, essays and contributions to conferences and exhibition catalogues, shedding light upon regional Renaissance sculpture and, more recently, on southern sculptors of the 19th and early 20th centuries who have received little if any critical attention.
STEFANO L’OCCASO is an art historian; he was born in Rome (1975) and graduated from Rome Sapienza University (1997), he then achieved the Specialization from Florence State University (2000), and his PhD from the Milan State University (2008). After having worked from 1994 to 2000 as a restorer (also in the Domus Aurea and in the Vatican Museums), he entered the Culture Heritage Ministry as art historian (since 2000), and worked mainly in the Mantua Soprintendency. He was also Director of the Lombardy State Museums (2015-2018), he is since November 2020 Director of the Ducal Palace in Mantua. He teaches at the Politecnico di Milano and is ordinary member of the Accademia Nazionale Virgiliana.
GIOVANNI MENDOLA is an Italian art historian and teacher. He taught Art History in Secondary Schools and at the SISSIS (Sicilian Inter-University School of Specialization for Secondary School Teachers) in Palermo. He is the author of numerous articles and essays on Sicilian Art History (painting, sculture, architecture, decorative arts) between the Sixteenth and Nineteenth Century, published in specialized magazines, exhibition catalogues, conference proceedings, dictionaries, encyclopedias. He was curator of the art exhibitions (and related catalogues) Gloria Patri and Pompa magna (Palermo 2000 and 2008). His research approach is always based on unpublished data and his research interests include the painters Zoppo di Gangi, Pietro Novelli and the sculptor Giacomo Serpotta. He has also contributed to clarify Anton van Dyck’s stay in Palermo. He is the author of the monograph Caravaggio’s Nativity (Palermo 2012) and of a forthcoming essay on the painter Mario di Laurito and on the sculptor Gabriele di Battista.
FAUSTO MINERVINI is Professor at the Academy of Fine Arts of Bologna, PhD in History of Art at the University of Paris-Sorbonne (Paris IV) and at the University of Naples “Federico II”. His researches, papers and contributions are focused on the exchanges and communications between the Italian artistic environment – with a specific attention to the Neapolitan area – and the International contexts of the 1800s and early 1900s.
STEFANO MOSCATELLI was born in Bari in 1997. He graduated in “Visual Arts” at the University of Bologna with a dissertation about Vincenzo Gemito. He is currently attending the School of Specialization at the University of Milan and he is also a PhD student at Sapienza University of Rome. Among his main fields of interest are the art of the second half of the nineteenth century, the relations between the Italian and French sculpture during that same period and the art criticism of the twentieth century.
Maria Rosaria Nappi
MARIA ROSARIA NAPPI had a career as art historian at the Italian Ministry of Cultural Heritage and Activities. She studied lorraine and german artists present in Naples between the end of the Sixteenth century and the beginning of the Seventeenth century, veduta and landscape paintings in Naples. She carried out a detailed study of the printmaking matrices of Salvator Rosa (Central Institute for Graphics) and about some printmaking matrices of the Royal Printing House at the National Archaeological Museum of Naples. In recent years she has devoted herself to study the sculpture of the Twentieth century, following various projects about Great War memorial monuments.
ALESSANDRO OLDANI was registrar and Assistant Conservator for the Galleria d’Arte Moderna di Milano from 2011 to 2020. During this period, he focused his research on the museum’s historical building and its collections, publishing La villa Belgiojoso-Bonaparte. Una residenza neoclassica tra Ancien Regime e età napoleonica (2013, with Giovanna D’Amia) and Galleria d’Arte Moderna, Milano. Le collezioni (2017, with Paola Zatti). He also published essays and short contributions in exhibition catalogues about 19th and 20th century sculptors (Adolfo Wildt, Medardo Rosso) and painters (Angelo Morbelli). From 2020 he is the Curator of Ufficio Arte negli spazi pubblici, Comune di Milano, and his research field is currently focused on contemporary sculpture and public art.
LUCA PALERMO (Naples, September 18th, 1983) is currently professor of History of Contemporary Art at the Department of Humanities of the University of Cassino and of the Southern Lazio. His main artistic research interests cover the Methodology of Art History and the History of Critics, with a particular focus on Contemporary Art History. Since 2010 he has carried out research on the artistic dynamics that take place outside the traditional institutional context. In particular, he has explored the artistic experimentation of the 1960s and the 1970s, as well as more recent artist experiences within the sphere of Public Art. He has published abundantly on the topic and he took part regularly in national and international conferences.
MARIO PANARELLO is an architect, art historian and doctor in Conservation of Architectural and Environmental Heritage. He has also taught Art history at the University of Calabria in Cosenza, the Mediterranean University in Reggio Calabria and the Academy of Fine Arts in Bari. He is an external expert art historian at the Superintendency of Archaeology, Fine Arts and Landscape in Cosenza. He is also editor-in-chief of the scientific journal Esperide. Cultura artistica in Calabria. His research focuses on late Mannerist and Baroque sculpture, on which he has written several essays and monographs, including Artisti della tarda maniera nel viceregno di Napoli. Mastri scultori, marmorari e architetti (Rubbettino, Soveria Mannelli 2010) and Fanzago e fanzaghiani in Calabria. Il circuito artistico nel Seicento fra Roma, Napoli e la Sicilia (Rubbettino, Soveria Mannelli 2012).
ALFONSO PANZETTA is Professor of History of Contemporary Art at the Accademia di Belle Arti di Bologna, where he also coordinates the Art Restoration School. He is a specialist in Italian sculpture of the nineteenth and twentieth centuries, and the author of Dizionario degli scultori italiani dell’Ottocento e del primo Novecento. Da Canova ad Arturo Martini. He has curated several exhibitions and their scientific catalogues, as well as numerous monographic studies and general catalogues. In parallel to his essayist career, his didactic activities focus on courses about the History of Sculpture, from the Ancient times to the contemporary. He has been the museum director of the Montevarchi Civic Museum “Il Cassero per la Scultura” for a decade. In 2004, he won a Prize for Culture of the Italian Presidency of the Council of Ministers thanks to his activities in the field of essay writing.
PAOLO PARMIGGIANI is an art historian specialised in Renaissance sculpture with a PhD from the University of Naples Federico II. He has published articles and essays on 15th-century Florentine sculptors and architects (Bernardo Rossellino, Giovanni di Bertino, Desiderio da Settignano, Antonio del Pollaiolo, Andrea del Verrocchio, Francesco and Andrea Ferrucci, Giuliano da Sangallo and Benedetto da Maiano) and he has taken part in international conferences and exhibitions (Fondazione Federico Zeri, Bologna; Biblioteca Laurenziana, Museo Nazionale del Bargello, Palazzo Strozzi and Kunsthistorisches Institut, Florence; Courtauld Institute of Art, London; Rhodes College, Memphis; Galleria Nazionale, Parma; Galleria Nazionale della Marche, Urbino; and CISA-Palladio Museum, Vicenza).
Lucia Rosa Pastore
LUCIA ROSA PASTORE, art historian, works at the “Corrado Giaquinto” Metropolitan Art Gallery in Bari. She is the author of numerous monographs and articles in specialized journals concerning the southern art of the nineteenth and twentieth centuries. As speaker, she participated in national conferences publishing in the related acts. For the Bari Metropolitan Art Gallery she also collaborated on the general catalogue of works by artists of the nineteenth and twentieth centuries (Polygraphic Institute and State Mint, Rome 2005). Thanks to her well-established experience, she has been part of scientific commissions for the setting up of museums, such as the Pinacoteca “Michele De Napoli” in Terlizzi, with Michele D’Elia. As far as museum teaching is concerned, The Self-Portrait and the Search for Identity (Adda publisher, Bari 2013) can be poined out, final act of a project she designed and implemented for teenagers. The latest works include the volumes Tribute to Onofrio Martinelli (Adda publisher, Bari 2016) and Antonio Bassi (1889-1965). Artistic paths of a sculptor of the twentieth century (Adda Editore, Bari 2018). On Antonio Bassi she also curated an exhibition at the Civic Museum of Bari (March-May 2018).
CHIARA PAZZAGLIA is an M.A. student both at the Scuola Normale Superiore in Pisa and at the University of Pisa (degree in History and forms of the visual and performing arts and new media). Her main fields of interest include monumental sculpture and painting in the late nineteenth and early twentieth century, with a particular focus on patronage, art criticism and visual culture during the fascist period.
ROBERTA PIANESE after graduating in Archaeology and Art History at University of Naples “Federico II”, she deepened her training in the field of historical-artistic disciplines, earning a Master’s degree at the same University with a thesis in History of Contemporary Art. Later on, she took part in a research project led by Isabella Valente and aimed at drafting the scientific catalogue of the works of the Fondazione Circolo Artistico Politecnico di Napoli, published by Guida Editori in 2018. Her main fields of interest concern nineteenth-and twentieth- century Neapolitan painting and sculpture, with a particular focus on the female presence in the context of southern sculpture. Over the years, she has carried out various professional activities related to the cultural heritage sector.
Mariantonietta Picone Petrusa
MARIANTONIETTA PICONE PETRUSA was full professor of History of Contemporary Art at the Federico II University of Naples. In her research she has been involved in the history of photography, posters, first and second avant-garde, history of Italian art of the nineteenth and twentieth centuries, with particular attention to the artistic situations of southern Italy. She has curated various exhibitions, founded and directed the magazine «ON.OttoNovecento» (1996-2000), has collaborated with the magazines «Op.cit.» directed by Renato De Fusco, «Confronto» directed by Ferdinando Bologna, «Dialoghi» directed by Paola Santucci. She currently works on «Napoli Nobilissima» and on «Studi di scultura». She has created entries for various encyclopedias and recently coordinated the European art sector of the first half of the 20th century for the Encyclopedia of Contemporary Art of Treccani directed by Vincenzo Trione.
CLAUDIO PIZZORUSSO is full professor of Contemporary Art at the University “Federico II” in Naples. He taught at Urbino, Florence and Siena Universities. Fields of research: Painting and Sculpture Italy (XVI-XVII centuries), Painting and Sculpture France and Italy (XIX-XX centuries). Curator and Executive or Advisory Committee member of many exhibitions. In 2011 he won the Salimbeni Prize for Art Criticism. He is member of the INASA (National Institute of Archeology and History of Art) and Director of the academic journal «Rivista di letterature moderne e comparate».
PETRA RICHTER, Dr. phil., studied History of arts, Philosophy and German literature in Kiel, Bochum and Rome. Dissertation 1998: Mit, neben, gegen. Die Schüler von Joseph Beuys (With, Besides, Against. The Students of Joseph Beuys), Düsseldorf 2000. From 1992-2012 she worked as program-manager in the publishing house Richter-Verlag, Düsseldorf. 2018 member and since 2020 President of the jury “Joseph Beuys Research Prize”, Museum Schloss Moyland Foundation. Publications about art history of the 60s and 70s with main focus on Joseph Beuys as teacher and the reception of his art term, and Beuys’ relation to Italy. Recent publications: Joseph Beuys. Ein Erdbeben in den Köpfen der Menschen. Neapel Rom 1971-1985 (An Earthquake in People’s Mind), Düsseldorf 2017; Joseph Beuys in Wartime Southern Italy, 1943 (cat. Intuition, Kleve 2022). Lives in Düsseldorf.
GIOVANNI RUBINO born in 1978, he graduated in Modern Literature from the University of Roma Tre in 2003. From 2005 to 2008 he attended the School of Specialisation in Art History at the University of Udine. In 2012 he obtained his PhD with a project on the Italian presence at the exhibitions nove tendencije in Zagreb, at the University of Udine in cotutela with the University of Zagreb. In 2015 he was scientific advisor for the Munari politecnico exhibition at the Museo del Novecento in Milan and co-editor of the volume Munari Politecnico. From 2016 to 2017 he studied Lucio Fontana’s environments and wrote bibliographical entries for the catalogue exhibition Lucio Fontana. Ambiente/Environments, held at the Pirelli HangarBicocca in Milan. In 2017 he won a research grant from the Fondazione Memofonte Onlus in Florence in collaboration with the Accademia della Crusca and the Scuola Superiore Normale di Pisa, for the lexical analysis and digitisation of futurism manifestos. From 2019 to 2022, he was recruited as a Research Fellow in History of Contemporary for the Department of Humanistic Studies at Roma Tre University.
DANIELA RUCCO holds a PhD and is currently an expert in contemporary art history, methodology of research and teaching at the Department of Cultural Heritage of the University of Salento. The main interests of the artistic research, started in 2009, are focused on the study of the southern art of the nineteenth and twentieth century with particular regard to the Neapolitan sculpture for what concerns the monographic publication dedicated to Raffaele Belliazzi (1935-1917) and the figurative arts of Terra d’Otranto with particular reference to the investigations related to the Salento-born Stanislao Sidoti (1837-1922). Her publications are also dedicated to some of the most influential artists of the late 20th century. She has participated in seminars and conferences of national importance.
RENATO RUOTOLO is an art historian and archival researcher. Throughout his career he is interested in the applied arts, in the history of collecting and in the monuments and villages of southern Italy. Most importantly, he has been the first one to study the creation of coloured marble mosaics (marmo commesso) in Naples during the 16th and 17th centuries and the artistic collections in that city in the 17th century, expecially the figures of the Flemish merchants Roomer and Vandeneynden. He has coordinated important works, as the Enciclopedia dell’Antiquariato (Fabbri Editori), has collaborated in many exhibitions dedicated to the baroque Neapolitan art in places such as Naples, Bari, Matera, Milano, Paris and Madrid, among others Civiltà del ’700 a Napoli, 1734-1799 (1979-80), Civiltà del Seicento a Napoli (1984), Ritorno al Barocco. Da Caravaggio a Vanvitelli (2010), Artemisia Gentileschi (2011-12), Fergola. Lo splendore di un regno (2016-17) and Rubens, van Dyck, Ribera. La collezione di un principe (2018-19) and has published in prestigious periodicals such as «Paragone», Ricerche sul ’600 napoletano» and «Napoli Nobilissima».
MATTEO SALOMONE graduated in History of Art at the University of Bologna in 2021, with a thesis on the sculptural decoration of the Basilica of Santa Maria Immacolata (1856-1904), in Genoa. He’s a PhD student in Art History at the Tor Vergata University of Rome, conducting research on the Nineteenth century sculpture in Genoa.
GIUSEPPE SAVA, art historian, has been contract professor of Christian Art and Iconoghraphy, of Art Criticism and of Modern History of Art (FBK; Departement of Humanities University of Trento). In 2017 obtained the national scientific qualification to function as associate professor in Italian Universities. His research covers some of the themes of the painting and sculpture in Veneto, Lombardy and Trentino Alto-Adige from 16th to 18th-century. He has published numerous contributions on italian specialized magazine: «Arte Veneta», «Nuovi Studi», «Paragone Arte», «Römische Historische Mitteilungen», «Studi Trentini Arte», «Verona Illustrata».
Michelli Cristine Scapol Monteiro
MICHELLI CRISTINE SCAPOL MONTEIRO is a postdoctoral researcher at Museu Paulista da Universidade de São Paulo (Museu do Ipiranga) with a Research Internship in Italy at the Università degli Studi Roma Tre (2019-2020), financed by FAPESP. She is graduated in History at the University of São Paulo (FFLCH-USP, 2009) and took her Master in History of Architecture at University of São Paulo (FAU-USP, 2012). She did her PhD at the same institution (FAU-USP, 2017) with a Research Internship in Italy at the Università degli Studi Roma Tre (2014-2015). The object of her research is the representation and construction of symbolic imageries with emphasis in history painting and public monuments. She studies the exchanges between Brazil and Italy in the sculpture and history painting of the nineteenth century.
LUCIO SCARDINO was born in Ferrara on 1957. After academic studies he devoted himself to rediscover Ferrarese and Padanian Art of the last two centuries, organizing many retrospective exbitions, attending to conferences, publishing essays, and lecturing on the subject. From January 1986 to January 2016 he directed Liberty house, a publishing house based in Ferrara. He is editor of dozens of catalogues dedicated to Ferrarese sculptors active between the nineteenth and twentieth century, as well an essays about Ezio Ceccarelli (1989, Firenze, Basilica di Santa Croce), Alberto Bazzoni in Cremona, Nicola Sebastio (with a presentation at the Certosa in Bologna), Corrado Feroci and other tuscanian artists. He collaborated to history and art guides to the ancient graveyards of Ferrara, Firenze, Bologna, Bondeno di Ferrara. For some years he has been director of “Libero”, a magazine dense with researches over early twentieh century sculpture, annexed the collection of plaster cast of Libero Andreotti, in Pescia (Pistoia). He lives in Ferrara and in Lido di Classe (Ravenna).
Maria Tamajo Contarini
MARIA TAMAJO CONTARINI currently serves as the Curator of the Nineteenth and Early Twentieth-Century Collection of the Capodimonte Museum. She has published several works on Flemish painting, on the history of restoration, and on wood carving in sixteenth-century Campania. She recently curated the exhibition Depositi di Capodimonte. Storie ancora da scrivere [Capodimonte from the Vault. Stories yet to be written] (Museo di Capodimonte, December 21, 2018 – September 30, 2019). She collaborated on the catalog for the exhibition Vincenzo Gemito. Dalla scultura al disegno [Vincenzo Gemito. From sculpture to drawing], Electa, Milan 2020 with the contribution, Vincenzo Gemito e le acquisizioni di sculture nella politica della Real Casa dal 1870 al 1912 [Vincenzo Gemito and the policy of the acquisition of sculpture in the Royal House from 1870 to 1912. She also curated the exhibition: L’Opera si racconta: Francesco Jacovacci e la pittura di storia [The work tells us: Francesco Jacovacci and the Painting of History] (Museo di Capodimonte, December 4, 2020 – March 21, 2021).
SONIA TORTAJADA is a sculpture conservator at the Museo Nacional del Prado in Madrid, Spain. She earned her undergraduate and graduate degrees in Art Conservation at the Complutense University of Madrid, and also holds a degree in painting conservation at the Conservation-Restoration Superior School of Madrid. In 2004 she joined the conservation department at the Prado Museum as a sculpture specialist, becoming part of the permanent staff in 2008. Her primary areas of work are the conservation and restoration of stone and polychrome wood artworks, focusing a fundamental part of her work on the conservation of plaster and plaster objects. She has published several articles and regularly participates as a speaker in educational activities for specialized audiences, as well as in new communication formats for the general public, such as Stories de Instagram. She has been teaching a workshop on plaster cleaning techniques since 2011, the most recent one last year at KIK-IRPA (Bruxelles)
ISABELLA VALENTE is a professor of Contemporary Art History in the Humanities’ Department of the University Federico II of Naples. Specialized in the nineteenth and twentieth century’s Neapolitan art also in relationship with the national and international panorama, she curated several exhibitions and related catalogs, including Il Bello o il Vero. La scultura napoletana del secondo ottocento e del primo Novecento (Napoli 2014-15) and, more recently, La Scuola di Posillipo. La luce di Napoli che conquistò il mondo (Napoli 2019). She has also published many articles in various scientific journals, monograph and studies of artists and artistic streams in autonomous and collective books. Moreover, she is a member of scientific committees of museums and cultural institutions. She is also the author of some departmental research projects, in cooperation with the Ministry of Economic Development (MISE) and with the High Technology District for Cultural Heritage (DATABENC), aimed at the conservation, enhancement and digital dissemination of cultural heritage (see Castel Nuovo, Naples). Last but not least, she has edited the catalogues of the Neapolitan Circolo Artistico Politecnico’s collection (published by Guida) and of the Museo Civico Gaetano Filangieri (published by Paparo). To her multiple scientific and educational interests, she adds, in conclusion, the history of photography that she teaches at the University she belongs to.
GEMMA ZAGANELLI was born in Assisi in 1987. She has obtained degrees in History of Modern Art with a thesis on Luca Signorelli and in History of Contemporary Art with a thesis on Antoine Bourdelle. She has subsequently specialized in French Sculpture of the early 1900’s. During her international Ph.D. from the University of Perugia co-supervised with Université Paris 8, she developed her thesis on Duchamp-Villon and Cubism. Among her publications are: Temps, espace et sculpture. Henri Bergson et Antoine Bourdelle autour de la Tête d’Apollon, «Sculptures», n. 4, 2017, pp. 86-91; L’architettura e il concetto di spazio-tempo: il caso della Maison cubiste di Raymond Duchamp-Villon, «Annali di Architettura», n. 30, 2019, pp. 107-120; Hildebrand critico della scultura cubista. Il caso degli Amanti di Raymond Duchamp-Villon, «Predella», nn. 43-44, 2019, pp. 3-25 and, curated with P. Martore, Raymond Duchamp-Villon, Muovere l’immoto. Scritti di uno scultore cubista, Castelvecchi, Roma 2019.