Keynote speakers
M. J. Rodríguez-Salgado
M.J. Rodríguez-Salgado has a Bachelor of Arts in History from the University of Durham and a PhD from the University of Hull. She started teaching at the University of St. Andrews in Scotland in 1979. She later taught at the University of Newcastle-Upon-Tyne and in 1985 she joined the International History Department at the London School of Economics and Political Science in London where she obtained the Professorship in International History in 1996. In 1988 she curated the exhibition about the Gran Armada and has collaborated in other exhibitions. The most significant publications from these projects are England, Spain, and the Gran Armada, 1585-1604 (1991), The Changing Face of Empire: Charles V, Philip II and Habsburg Authority 1551-1559 (1988), and Armada. The Official Catalogue of the National Maritime Museum Exhibition (1988). Her extensive researching career has focused on the international relations between the fifteenth and seventeenth centuries as well as various aspects of the courts of Charles V and Philip II. Furthermore, she has also published articles and book chapters centred on key female figures such as the Queen Isabel of Valois in the article "Una Perfecta Princesa" Casa y vida de la reina Isabel de Valois (1559-1568). Primera Parte’ (2003), or the governor Mary of Hungary, with her contribution on the volume Mary of Hungary. Renaissance Patron and Collector. Gender, Art, and Culture (2020).
Joyce de Vries
Joyce de Vries has a PhD in Italian Renaissance Art History from the University of Illinois. Her research specialises in the visual and material culture of Early Modern Italy with a focus on the material culture in the domestic sphere and the visual construction of gender. One of her most outstanding publications is her book Caterina Sforza and the Art of Appearances: Gender, Art, and Culture in Early Modern Italy (2010). In this work she explores the patronage and collection of Caterina Sforza using a gender role approach. This study has been awarded prizes and grants by several institutions like the National Endowment for the Humanities Grant and the Millard Meiss Publication Grant from the College Art Association. She is currently focused on the study of Bologna, where she does archival work to study the material culture of noblewomen’s domestic spaces like in the case of Giovanni Fantuzzi. She also studies the agency and customs of women from the lower classes. She has served as the Director of the Women's Studies Program at Auburn University between 2011 and 2017 advancing the studies in art history by co- editing with Barbara Baker Outside In: Voices from the Margins (2018), a collection of essays that explore issues of diversity, inclusion, and the resilience of women, particularly women of color, in higher education.
Kelly Helmustler di Dio
Kelley Helmstutler Di Dio is Professor of Art History and Associate Dean of the College of Arts and Sciences at the University of Vermont, as well as the editor of Routledge's Visual Culture in Early Modernity series. She is a specialist in Italian and Spanish sculpture of the sixteenth and seventeenth centuries, in state gifts, and artistic exchanges. In addition to many articles and essays, she has published books like Leone Leoni and the Status of the Artist at the End of the Renaissance (2011), Sculpture Collections in Early Modern Spain (with Rosario Coppel, 2014), Leone Leoni: Faith and Fame (with Rosario Coppel and Margarita Estella, 2013), Making and Moving Sculptures in Early Modern Italy (2015), and Artistic Circulation between Early Modern Spain and Italy (edited with Tommaso Mozzati, 2020), y Shipping Sculptures in and out of Early Modern Italy (forthcoming). Her research has been funded by fellowships from the Spanish Ministry of Arts and Culture, the Kress Foundation, the Medici Archive Project, and the Harvard Center for Renaissance Studies "Villa I Tatti. She was awarded the 2016 University of Vermont’s Kroepsch-Maurice Excellence in Teaching Award and her courses have been featured in Vermont Quarterly, UVM News, and the Center for Teaching and Learning newsletter.
Tanja Jones
Professor Tanja Jones teaches undergraduate and graduate courses in Renaissance and Baroque art at the University of Alabama. A major portion of her research focuses on the fifteenth-century courts of northern Italy, innovations in personal commemoration, and objects demonstrating intersections between the courts of Italy, France, and Byzantium. She has published extensively on the cast bronze portrait medals produced in the early courts and her current book-length project, Pisanello’s Medals: Dynasty, Destiny, and Crusade, addresses the emergence of the cast bronze portrait medal in the 1430s and the political, religious, and ideological value the small-scale sculpted form conveyed. She also co-directs (with Dr. Doris Sung) the project Global Makers: Women Artists in the Early Modern Courts, that address the role Early Modern women played as producers of visual and material culture in the courts of Europe and Asia (c. 1400-1750). As a result of this project, she has recently edited the volume Women Artists in the Early Modern Courts of Europe c.1450-1700 (2021). Her research has been supported by Dumbarton Oaks, the American Philosophical Society, the Society for the Study of Early Modern Women, and the Samuel H. Kress Foundation, among others.
Palma Martínez-Burgos
Palma Martínez -Burgos has a PhD in Art History, and she is a Professor at the University of Castilla La Mancha in Toledo. In 1982 she was a ground-breaking scholar in the field of gender studies when she published a work in collaboration with George Duby focused on female orthodoxy, spirituality, and visual culture in the Reformation and Counterreformation during the sixteenth and seventeenth centuries. She has published extensively in national and international specialised journals. Some of her most outstanding projects are in the field of museography like her collaboration in Reyes y Mecenas (Toledo, 1992), Carolus (Toledo, 2000) and El Taller Del Greco (Athenas, October 2007- January 2008). She has curated the following exhibitions: Erasmo En España. La Recepción Del Humanismo (Salamanca 2002), Celosías (Toledo, 2006), Dominicas, Viii Centenario (Toledo 2007-2008), and La Estela Del Milagro: El Entierro Del Señor De Orgaz (Toledo, 2014) in commemoration of the 400th year anniversary of the birth of El Greco. Between 2008 and 2009 she coordinated the inventory of textiles in the Cathedral of Toledo. In 2014 she became the President of the XX National Art History Congress (CEHA), El Greco en su IV Centenario: Patrimonio Hispánico y Diálogo Intercultural, celebrated in Toledo overseeing as well the publication of the conference proceedings (2016). Since 2008 she is part of the Board of Trustees of the Museo Nacional de Escultura in Valladolid. She is the Head Researcher of the R+D project Toledo e Italia: relaciones artísticas de ida y vuelta en la Edad Moderna (SBPLY/19/180501/000311.).
Sheila ffolliott
Sheila ffolliott is Professor Emerita of Art History at George Mason University in Virginia where she taught between 1978 and 2009. She was Chair of the Art Department and the Art History Department and Coordinator of Art History within the Department of History and Art History. She currently serves as President of the American Friends of Attingham and is Vice chair of the Medici Archive Project. She is a former board member of the National Museum of Women in the Arts and the Jerome Foundation. Her research career focuses on the artistic patronage and cultural agency of early modern women, mostly paying attention to the figure of Catherine de Medici. She has published extensively on this historical figure like “Artemisia Conquers Rhodes: Problems in the Representation of Female Military Heroics in the Age of Catherine de’ Medici” (2015) or “Catherine de’ Médicis. La Reine-patronne Ideale de la Rénaissance?” (2007). She has a forthcoming publication titled “Cosimo I and Catherine de’ Medici: Cousins and Rulers.” She was the Guest Curator for the exhibition Images of a Queen’s Power: The Artemisia Tapestries, celebrated in 1993 at the Minneapolis Institute of Arts. She served on the committee for the exhibition Italian Women Artists: Renaissance to Baroque, celebrated in the National Museum of Women in the Arts in Washington DC in 2007. In 2014 she was presented with the Lifetime Achievement Award by the Society for the Study of Early Modern Women. Her scholarship has received support from the National Endowment for the Humanities, the Folger Shakespeare Library, The Bunting Institute, and the Center for Advanced Study in the Visual Arts at the National Gallery of Art.
Also taking part…
Alison Luchs
Alison Luchs was a Professor of Art History Swarthmore College and Syracuse University. In 1983 she joined the Department of Sculpture and Decorative Arts in the National Gallery of Art in Washington DC. She is currently the curator of early European sculpture and has collaborated on various projects including two systematic catalogue volumes (1993, 2000). She has also worked on the installation of the new sculpture galleries (2002), the exhibitions Disiderio da Stettignano: Sculptor of Renaissance Florence (2007), and An Antiquity of Imagination: Tullio Lombardo and Venetian High Renaissance Sculpture (2009). Her extensive knowledge of early European art has resulted in numerous publications including the articles like "A Marble Hunting Parting: The Companions of Diana for Marly" (2008), "Two Hercules Sculptures by Cristoforo Solari" (2007), "The Siren of Ca' da Mula" (2005) or books such as Tullio Lombardo and Ideal Portrait Sculpture in Renaissance Venice, 1490–1530 (1995) and The Mermaids of Venice: Fantastic Sea Creatures in Venetian Renaissance Art (2009). She has been awarded the Millard Meiss and Samuel H. Kress Foundation grants (1994), and the Chester Dale fellowship for dissertation research in Italy (1974–1975). She has twice received the Robert H. Smith Curatorial Fellowship (1988, 1998), and the Ailsa Mellon Bruce Curatorial Sabbatical from the Center for Advanced Study in the Visual Arts (1992–1993, 2003–2004).
Paloma Otero
Paloma Otero is Chief Curator at the Numismatic and Medals Department of the Museo Arqueológico Nacional in Madrid where she has developed her professional activity since 1990. She has a BA in Geography and History, and her research has focused on ancient numismatics with special attention to Celtiberian coins in Hispania in this museum’s collection. She has documented the history and worked on the dissemination of the coins in this collection since the creation of the Royal Library in 1711. Her most recent articles have been published in the Boletín del Museo Arquelógico Nacional, and are “Vitrina CERO: ¡Falso! Una historia de engaño, arte y codicia” (2022), “Vitrina CERO: El Tesoro de Valsadornín” (2020) or “Vitrina CERO: Dineros del mundo: Melanesia”. She has participated in collaborative works such as “Detrás de la imagen: apuntes para una museología de las colecciones numismáticas del Museo Arqueológico Nacional” (2020). She has coordinated the publication of the proceedings of the XIII International Numismatic Conference.
Márta Pallag
Márta Pallag is curator of the medal collection of the Magyae Menzetu Múseum, in Hungary, since 2020. She has a degree in Art History by the University of ELTE that she obtained in 2007 and during her extensive academic and professional career in this field, she has made great efforts to study numismatic and medals. As a result of her research, she has published plenty o articles and book chapters such as “The unique Medal of Emperor Ferdinand I.” (2019), “The Medal of the recapture of Esztergom in 1595” (2018), “A Szent Liga megalakulásának (1684) emlékére vert nürnbergi érem” (2013), “The Numismatic World in the Long 19th Century. The Delhaes collection” (2022), “Szent László ábrázolása emlékérmeken” (2019) and “Delhaes István éremgyűjteménye” (2019).
Tom Hochenhull
Tom Hichenhull is Curator of Modern Money and Medals at the British Museum. He obtained his BA in History in 2005, followed by a MA in Classical Civilizations with a focus on Classical Greece in 2006, both at the University of Leeds. In his dissertation, he dealt with Philip II of Macedonia’s policy towards Thrace. Following a brief stint as visitor services assistant at the Household Cavalry Museum, Tom joined the British Museum as visitor host in 2007 and in 2008 he joined the department where he is now a curator. He is also a co-ordinator of the Department’s volunteer program and Program Manager of the Room 69a temporary exhibitions space. In this capacitu, he curated the exhibitions “Bubbles and Bankruptcy: Financial Crisis in Britain since 1700” (2012), “The Other Side of the Medal. How Germany saw the Fist World War” (2004) and “Currency of Communism” (2017) and co-curated a major exhibition “I Object: Ian Hislop’s search for dissent” (2018), whose catalogue stands out among his publications. He regularly contributes items to the British Museum Magazine and he is the author of articles such as “Stamped all ober the King’s Head: Defaced Coins and Women’s Suffrage” (2016) or “Symbols of Power: Ten Coins that Changed the World” (2017).
Alejandro Vergara Sharp
Alejandro Vergara Sharp is Head of Conservation of Flemish and Northern European paintings until 1700 at the Museo Nacional del Prado in Madrid. In 1992 he obtained a Bachelor of Arts in History and Geography with the specialization in Art History. In 1994 he obtained a PhD in Art History from the Institute of Fine Arts in New York with a dissertation focused on Rubens. He taught Art History at the University of California and Columbia University become becoming a curator at the Prado Museum in 1999. He is a specialist in Rubens’ painting production and in sixteenth century Flemish art and has done extensive research on Netherlandish paintings from the sixteenth and seventeenth centuries. He has curated numerous exhibitions in the Prado Museum like Rubens. Dibujos para el retrato ecuestre del duque de Lerma (2001), Vermeer y el interior holandés (2003), Pedro Pablo Rubens. La historia de Aquiles (2003- 2004), Rubens. La Adoración de los Magos (2004) Patinir (2007), Rembrant. Pintor de Historias (2008), Rubens (2010), El joven Van Dyck (with Friso Lammertse, 2012), Rubens. El Triunfo de la Eucaristía (2014), El arte de Clara Peeters (2016), Rubens. Pintor de bocetos (with Friso Lammertse, 2018), and Velázquez, Rembrandt, Vermeer. Miradas afines (2019). Prior to this, he curated El arte en la corte de los archiduques Alberto de Austria e Isabel Clara Eugenia (1598-1633). Un reino imaginado, held at the Royal Palace of Madrid (1999-2000).
Ana García Sanz
Ana García Sanz graduated from Art History at the Complutense University of Madrid in 1985 and since 1989 she has been working as a Curator in the Conservation Department
on Patrimonio Nacional, being the chief director of two monasteries, Las Descalzas Reales de Madrid, and Santa Clara de Tordesillas, as well as of the royal collection of carpets. Regarding this position, she has worked on the inventory and cataloguing of the artistic collection, the design of exhibitions and other projects, the edition of texts and the curation and dissemination of the collections. She also invests part of her time in scholar activities, collaborating with many universities, foundations, cultural institutions, and other museums, as well as paying attention to the access of scholars to the collections of Patrimonio Nacional. Her academic publications focus on the museums and collections that she has investigated and curated in her career, highlighting the ones dedicated to Las Descalzas Reales and the figure of Juana of Austria, such as the book Las Descalzas Reales. Orígenes de una comunidad religiosa en el siglo XVI (2010) or the articles "Los tapices de la Eucaristía. Función y ubicación en el Monasterio de las Descalzas Reales" (2014), “Jeanne d’Autriche fondatriche des Dëchaussées royales de Madrid” (2016), and “A Personal Project: The Founding of Madrid's Descalzas Reales” (2021).
Miguel Falomir Faus
Director of the Museo Nacional del Prado. In 1989 he graduated in Art History from the University of Valencia, obtaining an extraordinary prize, and from 1990 to 1993 he was an FPI scholarship holder of the Ministry of Education and Science at the Consejo Superior de Investigaciones Científicas (Spanish National Research Council). In 1993 he obtained his doctorate in Art History from the University of Valencia. Between 1994 and 1995 he was a Fulbright postdoctoral fellow at the Institute of Fine Arts, New York University. He is also a full professor in the Department of Art History at the University of Valencia and in 1997 he was appointed Head of the Department of Italian and French Painting (up to 1700) at the Museo Nacional del Prado. Between 2008 and 2010 he was Andrew Mellon Professor at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington. In 2015 he was appointed Deputy Director of Conservation and Research at the Museo Nacional del Prado, a position he held until his appointment as Director in March 2017. He is a member of the Comitato Scientifico of the Fondazione Tiziano in Pieve di Cadore (Italy) and has been a visiting professor at the universities of Udine in Italy and UCLA in the United States. He is the recipient of Harvard's 2018 I Tatti Morgan award for his outstanding achievements in the field of conservation. He has curated numerous exhibitions organised by the Museo del Prado, including: “De Tiziano a Bassano. Maestros venecianos del Museo del Prado” (1997), “Una obra maestra restaurada. El Lavatorio de Jacopo Tintoretto” (2000), “Los Bassano en la España del siglo de oro” (2001), “La restauración de El emperador Carlos V, a caballo, en Mühlberg de Tiziano” (2001), “Tiziano” (2003), “Tintoretto” (2007), “El retrato del Renacimiento” (2008), “El último Rafael” (2012), “Las Furias: alegoría política y desafío artístico” (2014), “Tiziano: Dánae, Venus y Adonis. Las primeras poesías” (2014) and “Lorenzo Lotto. Retratos” (2018).
Miguel Ángel Bunes Ibarra
Miguel Ángel de Bunes Ibarra is a research professor at the Instituto de Historia of the CSIC, where he works on the Mediterranean relations of the Hispanic monarchy, the Maghreb and the Ottoman Empire, as well as on the chronicles and minorities of the period. He has been a member of the Turkish Academy of History since 2010 and of the Royal Spanish Academy of History since 2014. Due to the topics he has developed in his research career, as well as the constant publication of unpublished sources on Mediterranean history of the 16th and 17th centuries, his works are continuously cited and referenced in the field of Mediterranean history, as well as for his works published directly in Turkish and the other languages of this region, which amount to 39 monographs, 134 book chapters and 94 articles in scientific journals throughout his research career. The list of publications has included both research works and the editing of sources and chronicles, works that are fully annotated and have been used by other researchers to initiate avenues of research. Among his latest published books are "Política de Felipe III en el Mediterráeo. 1598-1621" (2021), "Tunisia 1535, Voices of a European Campaign" (2017), "The Ottoman Empire; 1451-1807" (2015), "Diego de Galán, Relación del cautiverio y trabajos de Diego Galán, natural de Consuegra y vecino de Toledo" (2011) and "Sir Anthony Sherley, Peso de todo el mundo (1622); Discurso sobre el aumento de esta monarquía (1625)" (2010).
Alice Raviola
Alice Raviola has PhD in Art History from the Università degli Studi di Torino (2002). She is a Professor and Researcher at the Art History Department at the Università degli Studi di Milano. Her research focuses on the Montefeltro region and the Gonzaga dynasty during the early Modern Age, on diplomacy, on the power relations during this same period in Italy, and on the figure of the infanta Catalina Micaela. She has published books such as L’Infanta. Caterina d’Austria, duchessa di Savoia (1567-1597) (2013), and articles like “Venerabili figlie: Maria Apollonia e Francesca Caterina di Savoia, monache francescane, fra la corte di Torino e gli interessi di Madrid (1594-1656)” (2012), or “«Hija de tal madre». La dote di Margherita, in L’Infanta. Caterina d’Austria, duchessa di Savoia (1567-1597)” (2013). She has also done extensive research about female topics in the Italic Peninsula by editing L’umiltà e le rose. Storia di una compagnia femminile a Torino tra età moderna e contemporanea (2017).
Emma Cahill Marrón
Emma Luisa Cahill Marrón has a Bachelor of Arts in History from the University of Cantabria, and a Master of Arts in Spanish Monarchy in the Modern Age from the University of Cantabria and the Autonomous University in Madrid. In 2022 she obtained a PhD in Art History from the University of Murcia. She has published extensively about the artistic and cultural relations between the Spanish Monarchy and the Tudor dynasty. She has also focused on Catherine of Aragon’s role as agent of female change in Tudor England. In October 2022 she was awarded the BritishSpanish Society Santander Universities UK Scholarship in London. In January 2023, she organized the international seminar celebrated at the Instituto Cervantes London and the University College London “The Education of a Christian Woman (1523) in the Construction of the Image of Female Power of Queen Mary I of England (1553-1558)”. She is the International Outreach Coordinator of the Art, Power, and Gender Research Group at the University of Murcia. She is a member of the research projects “Portrait Medals and Female Power in Renaissance Europe (I): The Women in the Spanish Monarchy,” and “Power, Gender, and Representation: Female Portrait Medals in the Courts of Renaissance Europe (France, England, and Scotland).” She is currently preparing the publication of the PhD dissertation as well as a new cultural and artistic biography of Catherine of Aragon.
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