Institut für Kunstgeschichte



Gremien und Projekte

Current Research Projects:

• 2019-2021 DAAD, Projekt 57449711, Partnershaftsprogramm mit der Waseda University, Tokyo, 2019: “Early Modern Sacred Images in Japan and in Europe: Contact, Comparison, Conflict” (2019-2021). Principal Investigator (with Prof. Yoshie Kojima, Waseda University, Tokyo).
• 2016-2022 ERC-StG Project (GA n. 680192) SACRIMA: “The Normativity of Sacred Images in Early Modern Europe” (Principal Investigator). Info at
• 2016-2023 Adele Hartmann-Programm der LMU, LMUexcellent.

Closed Research Projects:

• La chair des images. Art, techniques of emotion and the limits of expression after Trent, Fondation Maison de Sciences de l’Homme, Paris/ European Commision (Action Marie Curie – COFUND – 7th), 2014-2015 (role: PI).
• The Flesh of Images. A social history of the serial expressive crucifixes in early modern Italy (1550-1650), The Italian Academy for Advanced Study in America, Columbia University, 2015-2016 (role: PI).
• Research group “Genèse et postérité des Evangelicae Historiae Imagines (1593–1594)” (dir. by Profs. Pierre-Antoine Fabre, Ralph Dekoninck, Walter Melion), role: research member (from 2015).
• Renaissance Conflict and Rivalries: Cultural Polemics in Europe, c. 1350-1600, Leverhulme
International Network (role: member of network).
• On the edges: The Unchristened Dead and their Fate in the Western Tradition, The British
Academy, The Royal Academy of Engineering and the Royal Society (Newton International Fellowship scheme), 2009-2010 (role: PI).
• “La chiesa cattolica, la disciplina del popolo cristiano e il controllo delle minoranze etnico-religiose. Inquisizione e poteri vescovili”, MIUR, National Research Project (coord. Adriano
Prosperi, Scuola Normale Superiore di Pisa), 2005 (role: member).
• ‘Immagini e censura. Modalità di selezione di immagini sacre e formazione di un bagaglio iconografico cattolico in età moderna’, MIUR Italian National Program: ‘Progetto Giovani Ricercatori 2003’ (role: PI).

Institutional Responsibilities (since 2016):

• Since 2020: Member of Doctoral Board (Collegio Dottorale) of the PhD program Cognitive and Cultural Systems, IMT School for Advanced Studies, Lucca.
• Since 2019: Member of ‘Jury des bourses Chastel’ (Institute National d’Histoire de l’Art, Paris).
• Since 2018: Member of the LMU Research Fellowship Commission (University Research Board).
• Since 2016 : Member of the Center for Advanced Studies of the LMU (Young Center).
• Since 2016: Faculty member at the LMU and of any associated role in appointment commissions and other committees (at the LMU and/or as external member for other universities in Europe).

Reviewing duties:

2021 Reviewer for doctoral projects for Österreichische Akademie der Wissenschaften/Austrian Academy of Sciences.
2020 Reviewer of ERC Starting Grants project proposals (SH5).
2018 Reviewer for the Swiss National Science Foundation (SNF), postdoctoral programs.
2016 – 2017 Reviewer for doctoral projects for the Evangelisches Studienwerk.
Since 2015 Scientific Advisory Board/Editorial board Boletín del Museo del Prado.
Since 2013 Reviewer for specialized journals (including The Journal of the Warburg and Courtauld Institutes, Mitteilungen des KHI, I Tatti Studies) and for publishing houses (Officina Libraria, Milan).

Organisation of scientific meetings since 2011 (selected choice):

• 2019-2020 DAAD Partnership Program LMU/Waseda University, Tokyo: “Early Modern Sacred Images in Japan and in Europe: Contact, Comparison, Conflict”, org. with Prof. Yoshie Kojima, Waseda University, Tokyo: series of conferences and study weeks Munich/Tokyo.
• 2019, June, 28-19, LMU, Institut für Kunstgeschichte/Zentralinstitut für Kunstgeschichte - Workshop SACRIMA IV, “Message, Messenger, or False Friend? Early Modern Print as Intermediary” (co-org. Erin Giffin, Antonia Putzger).
• 2018, Summer Semester, SACRIMA Lecture Series, LMU, Institut für Kunstgeschichte: “Forms and Norms in European Art and Beyond”.
• 2018, December, 7-8, LMU IfK/ZI - International Conference (SACRIMA III): “Madonne: Reframing, Coronation and Re-Installation of Marian Images in Early Modern Spaces” (co. org. Erin Giffin, Cloe Cavero).
• 2018, June, 5-6, Bibliotheca Hertziana, Workshop co-organized with Bibliotheca Hertziana and Kunsthistorisches Institut in Florenz (KHI): “Maniera and Mannerisms: a Historiographic Paradigm of Cinquecento Art”.
• 2017, November, 30 and December, 1, LMU IfK/Zentralinstitut für Kunstgeschichte - International Conference (SACRIMA II): “Holy children, liminal bodies. The status and materiality of infancy in early modern visual culture” (co-org. Cloe Cavero).
• 2017, November, 2-3, LMU, Institut für Kunstgeschichte/Zentralinstitut für Kunstgeschichte - International Conference (SACRIMA I): “Contested forms. The limits of the sacred image and the normative power of art in early modern Europe” (co-org. Cloe Cavero).
• 2016, March, 31-April, 2, RSA Boston, Panel organized with the sponsorship of the Italian Academy, Columbia University: “Image Normativity and Religion in Italy and in Spain”.
• 2013 ‘Classifying Content: Photographic Collections and Theories of Thematic Ordering’, co-org. with Katia Mazzucco, international workshop, The Warburg Institute, 20 May 2013.

Invited lecture series and research stays at leading advanced schools:

2020-2021, Winter Semester: Joint research seminar online on The Legend of Raphael and the Invention of Style(s) in the Italian Renaissance (distance series) at the Yolanda & David Katz Faculty of the Arts, Tel Aviv Universty (host: Prof. Sefy Hendler).
2020-2021, “Professeur Invité” at the EHEES, Paris for a series of lectures on “Archipelagoes of Images: Art, Inquisition, and the Geography of Visual Norms in the Early Modern Mediteranean” (hosts: Prof. Pierre-Antoine Fabre, Sylvain Piron).
2019, Invited lecture and workshop at Waseda University (Tokyo), Lecture “On the Normativity of Sacred Images in Europe and the Geography of Art”, Workshop seminar on „Local and Global Madonnas: ´la Madonna della Lettera´ and the question of the painted relic in Sicily, Malta and Rome” (organized with Yoshie Kojima, Waseda University).

Invited lectures and conference papers at international venues (selection only from the last 3 years):

• 2020, 8.-12. June, Universidad de los Andes, Bogotá/Sede Caribe, Cartagena de Indias: “Images as Reliquaries: Collage, Assemblage, and Exposition of the Relics of the Holy Cross”, Congreso Internacional: “Reliquias y arte entre Europa y América: historias compartidas a debatir” (org. L. E. Alcalá and J. L. González García, P. Zalamea, postponed due to COVID-19 restrictions).
• 2020, 19. March, Roma, Università di Roma Tre: “Geografia e normatività delle immagini di culto: la Madonna della Lettera di Mattia Preti e due pale d'altare rimosse a Malta e a Roma”, ciclo: Storie dell’arte dal mondo (org. G. Capitelli und L. Iamurri, postponed due to COVID-19 restrictions).
• 2019, 24.-26. April, Madrid, Casa de México: “Pictorial relics: substitution and the normativity of Marian images in the Mediterranean”, VI Seminario de Arte y Cultura en la Corte (Madrid, Casa de México).
• 2018, 15.-16. November, Florenz, KHI (Max-Planck-Institut): “‘Ad alcuni è piaciuto, ad altri non punto’: stime e giudizi di artisti nella Roma del Cinquecento”, International Workshop on “Bad Reception: Expressing Disapproval of Art in Early Modern Italy” (org. D. Gamberini, J. K. Nelson, A. Nova);
• 2018, 11.-12. June, Tel Aviv, University of Tel Aviv: “Captive Origins. Biblical Humanity and Artistic Creation in the 16th century”, International Colloquium “La Renaissance des origines. Commencement, genèse et création dans l’art des XVe et XVIe siècles”, als Beitrag der Tel Aviv University zur France-Israel Season 2018, organisiert von Sefy Hendler, Florian Métral und Philippe Morel;
• 2018, 18. April, Paris, Institut National d’Histoire de l’Art (INHA): “La normativité des images sacrées à l’époque moderne”, Séminaire collectif d’histoire de l’art de la Renaissance, Paris, INHA.


2015: “Eights in the Octagon: Medieval and Renaissance Perspectives”, exhibition project on the number eight as an organizing principle in Western visual culture (January-June 2015), funded by UCL Museums and Collections (Concept and co-organization).