publications


Journal Articles (see also academia.edu)


          2014-in press

          2013

  • "Padua Blue between Katz and Kristeva: A Naturalistic Third Way for Visual Studies," re·bus 6 (2013): 1-22.
  • "A Newly Reattributed Painting by Francesco Vanni in Malta" (with John Marciari), Melita Historica 16 (2012) (published 2013).

          2012

  • "Is William Epstein a Gestalt Psychologist?" Gestalt Theory 34 (2012): 179-190. 
  • "The ‘Second’ Vienna School as Social Science," Journal of Art Historiography 7 (2012): 1-17. 
  • "When Are We Speculating on History? A Mandelbaumian Theory," Journal of the Philosophy of History 6 (2012): 60-83. 

        2011

  • "Vasari's Progressive (but Non-Historicist) Renaissance," Journal of Art Historiography 5 (2011), 5-IV/1, 19 pages.* 
  • "Eminem and the Tragedy of the White Rapper," Journal of Popular Culture 44 (2011): 872-889.* 
  • "Due varieta' in se: Practices of Engagement in Bronzino's Portraits," Source 30 (2011): 26-32.* 
  • "Arnheim and Ingarden on the Ontology of Art," Gestalt Theory 32 (2011): 307-322.*

          2010

  • "Francesco Paciotti, Military Architecture, and the European Geopolitics," Renaissance Studies 24 (2010): 1-22.
  • "A Classification of Perceptual Corrections of Perspective Distortions in Renaissance Painting," Perception 39 (2010): 677-694.* 
  • "John White's and John Shearman's Viennese Art Historical Method," Journal of Art Historiography 1 (2010), 1-IV/1.

          2009

  • "Tizian, Prägnanz, Zeichen: Singularität in den bildenden Künsten," in Martina Pluemacher and Wolfgang Wildgen (eds.), Prägnanter Inhalt - Prägnante Form (Zeitschrift für Semiotik) (2009). Available here in English.

          2008

  • "Between Presence and Perspective: The Portrait-in-a-Picture in Early Modern Painting," Zeitschrift für Kunstgeschichte 71 (2008): 513-526.
  • "Grande quanto l'opera: Scale and Function in Barocci's Drawings," Master Drawings 46 (2008): 289-321 (with John Marciari).*

          2007

          2006

          2005

  • “Mona Lisa's Smile: The Place of Experimental Phenomenology within Gestalt Theory.” Gestalt Theory 27:2 (2005): 91-106.

          2004

          2003

  • "Three Cartoon Fragments for Barocci's Madonna di San Simone," Master Drawings 41 (2003): 378-383. 
  • "The Apostasy of Michelangelo in a Painting by Federico Barocci," Source 22 (2003): 27-34.
  • "Federico Barocci, Federico Borromeo and the Oratorian Orbit," Renaissance Quarterly 56 (2003); 56-87.*

          2001

          2000

          1996

Books Chapters

  • “Burckhardt, Narrative, and Objectivity,” in Sabine Frommel and Maurizio Ghelardi, eds., L’idea di stile nella storiografia artistica (Paris and Geneva: Droz, 2012). 
  • “Teoria della gestalt, enattivismo, e la rettorica di ‘realismo,’” in Fiorenza Toccafondi, ed. Fenomenologia e scienza. Punti d'incontro passati e presenti (Firenze, Le Lettere, 2012), 244-278.
  • "Materializing Strukturforschung," in Dan Adler and Mitchell Frank (eds.) German Art History and Scientific Thought (Aldershot: Ashgate, 2012), pp. 141-160. 
  • "Come dire oggettivamente che la prospettiva e' relativa," in Tiziana Andina and Carmelo Cali, eds., Arte, Psicologia e Realismo: Saggi in Onore di Lucia Pizzo Russo [special issue Rivista di Estetica], 48 (2011): 217-235. 
  • "La 'second' ecole de Vienne et les sciences sociale," in Celine Trautmann-Waller, ed., L'ecole viennoice d'histoire de l'art [special issue, Austriaca: Cahiers universitaires sur l'Autriche] 26 (2011): 159-187. 
  • "Mandelbaum's 'Noble Dream:' Historical Objectivism through a Century of Debate," in Maurice Mandelbaum (as above), 65-84. 
  • "Duke Francesco Maria dell Rovere and the Duchy of Urbino between Rome and Venice," in Patronage and Dynasty (as above). 
  • "Cardinal Giulio Feltrio della Rovere: Reform and Renewed Ambition," in Patronage and Dynasty (as above). 
  • "Campo, Forze, Singularità: Prospetti per la spiegazione arnheimiana del ordine percettuale," in Lucia Pizzo Russo, ed., Rudolf Arnheim: Arte e Percezione Visiva (Palermo: Aesthetica Preprint, 2005). 
  • "Tacit Skills in the Perspective Treatise of the Late Renaissance," in Karl Enenkel and Wolfgang Neubehr, eds., Cognition and the Book (Leiden: Brill, 2005). 
  • "The Embodied Perspective Viewer and its Implications for Semiotics," in Winfried Nöth, ed., Körper, Verkörperung, Entkörperung (Kassel: Universität Kassel, 2004). 

Notes and Varia

Reviews

  • Peter Gillgren, Siting Federico Barocci and the Renaissance Aesthetic (Ashgate, 2011), British Journal of Aesthetics (2012). 
  • Scott Higgins, ed., Arnheim for Film and Media Studies (London: Routledge, 2011)Leonardo Digital Reviews (2011). 
  • Guido Beltramini, ed., Palladio and the Architecture of Battle: with an Unpublished Edition of Polybius' Histories (Venice: Marsilio Editori s.p.a 2010) and Martha Pollak, Cities at War in Early Modern Europe (Cambridge: Cambridge University Press, 2010), Renaissance Quarterly (2011). 
  • Christel Vesters, ed., Now Is the Time Art & Theory in the 21st Century (Rotterdam: NAi Publishers, 2010), Leonardo Electronic Reviews (2010); http://leonardo.info/ldr.php and Leonardo 44 (2011)
  • Alberto Argenton, Arte e espressione. Studi e ricerche di psicologia dell'arte (Padua: Il Poligrafo, 2009), Journal of Aesthetics and Art Criticism 68 (2010).
  • Bernhard Radloff, Heidegger and the Question of National Socialism: Disclosure and Gestalt (Ontario, Canada: University of Toronto Press, 2007), Gestalt Theory 31 (2009): 86-88.
  • James Heffernan, Cultivating Picturacy: Visual Art and Verbal Interventions (Waco: Baylor University Press, 2006), Journal of Aesthetics and Art Criticism 66 (2008), 311-312.
  • Anne Friedberg, The Virtual Window: From Alberti to Microsoft (MIT Press, 2006); Leonardo Digital Reviews (2007).
  • Bronwyn Wilson, The World in Venice: Print, City & Early Modern Identity (Toronto: University of Toronto Press, 2005), Histoire sociale - Social History 39 (2006): 582-4.
  • Gauvin Alexander Bailey, Between Renaissance and Baroque: Jesuit Art in Rome, 1565-1610 (Toronto: University of Toronto Press, 2003), Canadian Review of History 40 (2005): 90-92.
  • Lucia Pizzo Russo, Le arti e la psicologia (Milan: Il Castoro, 2004), Leonardo Digital Reviews (July 2005).
  • Hubert Damisch, A Theory of /Cloud/: Toward a History of Painting (Stanford: Stanford University Press, 2002), Leonardo 37 (2004): 415.
  •  Alessandra Coppa, Francesco Paciotto, Architetto Militare (Milan: Unicopli, 2002) & Nadia Ragni, Francesco Paciotti, Architetto Urbinate (1521-1591) (Urbino: Accademia Raffaello, 2001), Renaissance Quarterly 57:1 (2004): 209-211.
  • Maryvelma Smith-O’Neil, Giovanni Baglione (New York: Cambridge University Press, 2002), Renaissance Quarterly 57:1 (2004): 195-196.
  • Robert Nelson (ed.), Visuality Before and Beyond the Renaissance: Seeing as Others Saw (Cambridge: Cambridge University Press, 2000), Journal of Aesthetics and Art Criticism 61:4 (2003).
  • Victor Stoichita, The Self-Aware Image: An Insight into Early Modern Meta-Painting (New York: Cambridge University Press, 1997) and Jodi Cranston, The Poetics of Portraiture in the Italian Renaissance (New York: Cambridge University Press, 2000), Journal of Aesthetics and Art Criticism 61:1 (2003).
  • Manfredo Massironi, The Psychology of Graphic Images: Seeing, Drawing, Communicating (Mahwah: Lawrence Erlbaum Associates, 2002), Leonardo 36 (2003): 162-3.
  • Nicholas Turner, Federico Barocci (Paris: Adam Biro, 2000), Renaissance Quarterly 55 (2002): 1074-1075.
  • Thomas Puttfarken, The Discovery of Pictorial Composition: Theories of Visual Order in Painting 1400-1800 (New Haven: Yale University, 2000), Sixteenth Century Journal 33 (2002): 316-317.
  • Antonio Natali (ed.), L'onesta di invenzione: Federico Barocci e i pittori riformati negli Uffizi, (Milano: Silvana, 2000), Sixteenth Century Journal 32 (2001): 135-136.

Conference Papers

  • "Medial Responsibility in Vilem Flusser and Rudolf Arnheim," Remediating Flusser, University of Connecticut, November 2013
  • “Federico Barocci e il compasso di riduzione” I Barocci a Urbino tra arte e scienza, Centro Internazionale di Studi Urbino e la prospettiva, October 2012.
  • “Comparison,” and “Trajectory,” Crossing Boundaries: Understanding World Art Lecture Series, The Barnes Foundation, Philadelphia, PA, September, October 2012.
  • “Site-Specifics: the Byzantine Post-Modern Aesthetic,” Byzantium/Modernism: Art, Cultural Heritage and the Avant-Gardes, Yale University, April 20-22, 2012.
  • “Sustaining Lessons Learned after the New Art History: Toward Meta-Theory,” Journal of Art Historiography 2012 Conference, University of Birmingham, England, March 2012.
  • “Marcia Hall’s Work as a Medial History of the Renaissance,” On the Work of Marcia Hall, Renaissance Society of America, Washington DC, March, 2012.
  • “Cognitive Glue: The Veneration and Destruction of Images,” Penn Humanities Forum, University of Pennsylvania, March 2012.
  • "Arte programmata, creativita' e la sfida del postmoderno," Tribute to Creativity: Arte programmata, Massironi, Bozzi, Verona, Italy, May 12. 
  • "L'arte per Arnheim," Seminario Dottorato, Universita' di Palermo, Palermo, Italy, May 11 2011. 
  • "Beatrizet's Guerra di Napoli Map of Rome (1557): The Secret Made Visible," Renaissance Society of America, Venice, April 2010. 
  • "Materializing Sedlmayr," Viennese Art Historiography Colloquium, Glasgow, Scotland, October 2-3, 2009. 
  • "Art and Perception" (Kunst und Wahrnehmung), Alpbach Forum, 5 lectures, Alpbach, Austria, August 2008. 
  • "Maurice Mandelbaum and the Real in History," The Place of the Real in the Human Sciences, International Association of Critical Realism, Philadelphia, 18 August 2007. 
  • "Burckhardt, Narrative and Objectivity,” CORTONA II, Palazzone (Scuola Normale di Pisa), Cortona, Italy, May 2007. 
  • "Art History and Anthropology: Aura and Action," Renaissance and Baroque Open Session, College Art Association, New York, New York, February 2007.
  • “Fenomenologia Sperimentale,” Seminario Dottorato, Università di Parma, March 9, 2006.
  • “Federico Barocci and the Science of Drawing in the Early Baroque,” California State University – Fullerton, February, 2006.
  • “Un appello per una iconologia cognitiva,” Neurocaffè (sponsored by the Università di Trieste), November 10, 2005.
  • “Barocci’s Immaculate Conception and the Religious Politics of Pius V,” Renaissance Society of America, Cambridge, England, April 2005.
  • “Experimental Phenomenology between Berlin and Graz,” Values, Meaning and Facts, Gestalt Theory Association, Graz, Austria, February 24–27, 2005.
  • “Campo, Forze, Singularità: Prospetti per la spiegazione arnheimiana del ordine percettuale,” Rudolf Arnheim: Arte e Percezione Visiva, Palermo, Italy, November 2004.
  • “Noblemen and Noble Mathematics in the Duchy of Urbino,” Noble and Ignoble Mathematics in the Italian Renaissance, Renaissance Society of America, New York, New York, April 2004.
  • “Silence and Rapture: The Devout Style in the Early Seventeenth Century,” McMaster University, Hamilton, Canada, March 9, 2004.
  • “Antique Relief in Renaissance Painting: More than just Antiquarianism,” From Constantine to Tolkien, NEH Symposium, Hood College, December 2003.
  • “Leonardo, Raphael and Painterly Influences on the Development of Ichnography,” Giambattista Nolli, Imago Urbis, and Rome, Rome, Italy, June 2003.
  •  “Cardinal Giulio della Rovere: Forgotten Maecenas,” The Della Rovere: Patronage of a Renaissance Dynasty, Renaissance Society of America, Toronto, Canada, April 2003.
  •  “Oratorian Quietude from Federico Barocci to Pietro da Cortona,” Muta Poesis, College Art Association, New York, New York, February 2003.
  • “Portable Space: The Perspective Treatise in the Late Renaissance,” Cognition and the Book, Berlin, Germany, September 2002.
  • “The Embodied Perspective Viewer and its Implications for Semiotics,” 10th International Congress, German Society for Semiotics, Kassel, Germany, July 2002.
  • “Distorzioni di prospettiva come ‘buona forma:’ esempi dal Rinascimento,” Congressino di Primavera hosted by the University of Trieste, Casteldobro, Slovenia, May 2002.
  • “Barocci: Color Even a Counter-Reformation Saint Could Love,” Technique and Workshop Practice, Renaissance Society of America, Scottsdale, Arizona, April 2002.
  • “When was a Renaissance Artist ‘Past his Prime?’ Revising Some Renaissance Categories, Sixteenth Century Studies Conference, Denver, Colorado, October 2001.
  • “Imitating the Inimitable: Federico Barocci’s ‘Incompetent’ Workshop,” Amateur or Professional: Experts, Dabblers, Hirelings & Hacks, Bryn Mawr College, Bryn Mawr, Pennsylvania, October 2001.
  •  “Federico Barocci, Federico Borromeo and the Oratorian Orbit,” New Approaches to Federico Barocci, Renaissance Society of America, Chicago, Illinois, March 2001.
  • “The Invention of Light and Color as Abstract Categories in the Art of Barocci,” Philadelphia Symposium on the History of Art, Philadelphia Museum of Art, Philadelphia, Pennsylvania, March 2001.
  • “Color: Between Rhetoric and Science,” Color and the Words Used to Describe It, College Art Association, Chicago, Illinois, February 2001.
  • “A Critical Realist Model of the Art Market,” Visual Anthropology, Art and Aesthetics: Critical Dialogues, American Anthropological Association, San Francisco, California, November 2000.