PUBLISHED (February 2014)
"Padua Blue between Katz and Kristeva: A Naturalistic Third Way for Visual Studies," re·bus: A Journal of Art History and Theory
“Teoria della gestalt, enattivismo, e la rettorica di ‘realismo,’” ["Gestalt Theory, Enactivism and the Rhetoric of 'Realism'"] in Fiorenza Toccafondi, ed. Fenomenologia e scienza. Punti d'incontro passati e presenti (Firenze, Le Lettere, 2012). This book, edited by the philosopher at the University of Parma - Fiorenza Toccafondi - includes essays by Carmelo Cali, Michele Sinico and Fiorenza herself. My essay reviews contemporary approaches to the philosophy of mind and in particular the question of mental representation and criticizes the "enactive" or sensorymotor theory of perception associated with Alva Noe and others.
(Published December 2009) Maurice Mandelbaum and American Critical Realism (London: Routledge)
Simone Barocci? Reduction Compass, c. 1600, Cassa di Risparmio, Pisa.
UPDATE (Fall 2009): the findings of this article have appeared in a number of places, the newly found head by Barocci sold by Christies, the catalog for the Met show Raphael to Renoir: Drawings from the Collection of Jean Bonna, discussion of the Linder Gallery, and David Stork's research on Van Eyck and drawing with optical aids.
PUBLISHED (Fall 2008) (with John Marciari) "Grande quanto l'opera: Scale and Function in Barocci's Drawings" Master Drawings (2008). The role of mechanical devices has been hotly debated in art history since David Hockney's controversial claims. In this article, we provide evidence that Federico Barocci (1535-1612) developed a highly sophisticated method of developing an altarpiece in preparatory drawings based on an interlocking system of ratios, derived from the reduction compass (compasso di riduzione) like the one illustrated above.
PUBLISHED (Fall 2008) "Between Presence and Perspective: The Portrait-in-a-Picture in Early Modern Painting," Zeitschrift für Kunstgeschichte (2008). How are we to interpret the way in which Jacobsz. has combined a fully frontal portrait of his mother with the after-thought of the canvas enframing her? It is not enough to say that perspective was 'poetic' at the time, for there is a very predictable trend in such pictures toward preserving the frontality and 'presence' of the sitter.