Notes on the Contributors

in Solitudo
Notes on the Contributors
Oskar Bätschmann

studied Art History in Zurich and Florence and has held professorships at the Universities of Freiburg im Breisgau (1984–1988), Giessen (1988–1991), and Bern (1991–2009) as well as fellowships and professorships at the École des Hautes Études en Sciences Sociales (Paris), the Centre for Advanced Study in the Visual Arts (Washington, D.C.), the Institut national d’histoire de l’art (Paris), and the National Normal Taiwan University (Taipeh). From 2001 to 2003 he served as Dean of the Faculty of Humanities at the University of Bern. From 1990 to 1991 he was Scholar at the Getty Center for the History of Art and the Humanities (Santa Monica, CA). He held a Research Professorship at the Swiss Institute for Art Research in Zurich (2009–2012), and he was Rudolf Wittkower Professor at the Bibliotheca Hertziana Max Planck Institute for Art History in Rome from 2009 to 2010, and Samuel H. Kress Professor from 2012 to 2013 at the Centre for Advanced Study in the Visual Arts in Washington, D.C. He was an active member of the International Committee for the History of Art (CIHA) from 1996 to 2004, he was a member of the Swiss Academy of the Humanities and the Social Sciences from 1992 to 2015, and he is a member of the Accademia Europea. In 2017, he became an honorary member of the Swiss Academy of the Humanities and the Social Sciences. Currently he is supervisor of the research project “Ferdinand Hodler: Catalogue raisonné of the Paintings”. He has authored monographs on Nicolas Poussin (1993); Ferdinand Hodler (1997, with P. Griener); Giovanni Bellini (2008); Hans Holbein (2014, with P. Griener); and Edouard Manet (2015). Other publications include: Ausstellungskünstler: Kult und Karriere im modernen Kunstsystem (1997); The Artist in the Modern World: The Conflict between Market and Self-Expression (1997); Einführung in die kunstgeschichtliche Hermeneutik (6th ed., 2009); Leon Battista Alberti, De Statua, De Pictura, Elementa Picturae (Das Standbild, die Malkunst, Grundlagen der Malerei), introduced, translated, and annotated by O. Bätschmann and C. Schäublin (2nd ed., 2011); Benedetto Varchi: Paragone—Rangstreit der Künste, with T. Weddigen (2013); and Leon Battista Alberti, Della Pittura: Über die Malkunst, ed. in collaboration with S. Gianfreda (4th ed., 2014).

Carla Benzan

is a Mellon Postdoctoral Fellow in the Department of Art History and Communication Studies at McGill University, Montreal, whose research examines the ways that naturalistic sacred images solicited new forms of viewer engagement in post-Tridentine northern Italy. Since submitting her Ph.D. thesis on the Sacro Monte of Varallo at University College, London, she has been appointed a Lecturer and Visiting Scholar at the University of Essex and a Teaching Fellow at University College, London. She has published articles and book chapters on contemporary, modern, and early modern art including two forthcoming book chapters based on her doctoral research. Her current project reconsiders painted images of falling heretical bodies ca. 1570 in relation to discourses of illusionism and scepticism.

Mette Birkedal Bruun

is Professor of Church History at the University of Copenhagen and Director of the collective ERC-research project SOLITUDES: Withdrawal and Engagement in the long Seventeenth Century (2013–2017). Since 2017 she is Director of the Centre for Privacy Studies funded by the Danish National Research Foundation. Her research interests include: the monastic movement, early modern devotion, and representations of the history and topography of salvation. She is the author of The Unfamiliar Familiar: Armand-Jean de Rancé (1626–1700) between Withdrawal and Engagement (2017) and Parables: Bernard of Clairvaux’s Mapping of Spiritual Topography (2007). She has edited, among other volumes, The Cambridge Companion to the Cistercian Order (2013); Commonplace Culture in Western Europe in the Early Modern Period I, with D. Cowling (2011); and Negotiating Heritage: Memories of the Middle Ages, with S. Glaser (2008).

Dominic E. Delarue

holds a Ph.D. in European Art History from the Katholieke Universiteit Leuven and the University of Heidelberg. After a position as Postdoctoral Researcher at the Katholieke Universiteit Leuven, he is now Postdoctoral Lecturer and Researcher at the Institute of Art History at the University of Regensburg. His research is dedicated to medieval book illumination, late medieval art, and visual hagiography. He has co-edited Das Bild als Ereignis: Zur Lesbarkeit spätmittelalterlicher Kunst mit Hans-Georg Gadamer, with J. Schulz and L. Sobez (2012) and Michael Ostendorfer und die Reformation in Regensburg, with C. Wagner (2017).

Agnès Guiderdoni

is Senior Research Associate of the Fonds National de la Recherche Scientifique (Belgium) and Professor of Early Modern Literature at the Université Catholique de Louvain, where she is Co-Director of the Centre for Early Modern Cultural Analysis (GEMCA). Originally a specialist in seventeenth-century French literature, she has focused more recently on emblematic literature and the field of figurative representation (imago figurata). Among her publications are Emblemata sacra: The Rhetoric and Hermeneutics of Illustrated Sacred Discourse, co-edited with R. Dekoninck (2007); Ut pictura meditatio: The Meditative Image in Northern Art, 1500–1700, co-edited with W.S. Melion and R. Dekoninck (2012); and Fictions sacrées: Esthétique et théologie durant le premier âge moderne, co-edited with R. Dekoninck and E. Granjon (2012). A monograph, La figure emblématique: Emblèmes, herméneutique et spiritualité (1540–1740), will be published in 2018.

Christiane J. Hessler

is a scholar of Renaissance art with a particular emphasis on Italian art theory and humanism. After a multiyear stay in Rome researching at the Bibliotheca Hertziana Max Planck Institute for Art History, funded by a grant from the Konrad Adenauer Foundation, she began to teach Art History at the Humboldt University of Berlin. Her primary research interests concern connections between humanists (Petrarch, Giovanni Pontano, Cristoforo Landino) and Renaissance painting. Another current focus is Nietzsche’s relation to the art of painting and Art History. In 2014, she published a monograph on the fifteenth-century Italian debate about the relative merits of painting, sculpture, and poetry (Zum Paragone: Malerei, Skulptur und Dichtung in der Rangstreitkultur des Quattrocento). Future projects include a study on the framework behind Renaissance sculpture competitions.

Walter S. Melion

is Asa Griggs Candler Professor of Art History at Emory University in Atlanta, GA, where he has taught since 2004 and currently directs the Fox Center for Humanistic Inquiry. He chaired the Art History Department from 2011 to 2014 and 2015 to 2017. He was previously Professor and Chair of Art History at The Johns Hopkins University, Baltimore, MD. He has published extensively on Dutch and Flemish art and art theory of the sixteenth and seventeenth centuries, on Jesuit image theory, on the relation between theology and aesthetics in the early modern period, and on the artist Hendrick Goltzius. In addition to monographs on Jerónimo Nadal’s Adnotationes et meditationes in Evangelia (2003–2007) and on scriptural illustration in the sixteenth-century Low Countries (2009), his books include Shaping the Netherlandish Canon: Karel van Mander’s ‘Schilder-Boeck’ (1991) and The Meditative Art: Studies in the Northern Devotional Print, 1550–1625 (2009). He is co-editor of Image and Imagination of the Religious Self in Late Medieval and Early Modern Europe (2008); Early Modern Eyes (2010); Meditatio—Refashioning the Self: Theory and Practice in Late Medieval and Early Modern Intellectual Culture (2011); The Authority of the Word: Reflecting on Image and Text in Northern Europe, 1400–1700 (2011); Ut pictura meditatio: The Meditative Image in Northern Art, 1500–1700 (2012); Imago Exegetica: Visual Images as Exegetical Instruments, 1400–1700 (2014); The Anthropomorphic Lens: Anthropomorphism, Microcosmism, and Analogy in Early Modern Thought and Visual Arts (2014); Image and Incarnation (2015); Personification: Embodying Meaning and Emotion (2016); Jesuit Image Theory (2016); and Ut pictura amor: The Reflexive Imagery of Love in Artistic Theory and Practice, 1400–1700 (2017). He was elected Foreign Member of the Royal Netherlands Academy of Arts and Sciences in 2010. Between 2014 and 2015, he was Chaire Francqui at the Université Catholique de Louvain and the Katholieke Universiteit Leuven. He was awarded the 2016 Distinguished Scholar Award from the American Catholic Historical Association, and was made Scholar in Residence at The Newberry Library (Chicago, IL) in 2017. He is series editor of Brill’s Studies on Art, Art History, and Intellectual History.

Raphaèle Preisinger

studied Art History, History, and Philosophy at the University of Bonn and received her Ph.D. in Art History in 2009 from the Karlsruhe University of Arts and Design. She was a Postdoctoral Lecturer and Researcher on medieval and early modern art at the Institute for Art History at the University of Bern until 2016. Currently, she holds a research fellowship from the Gerda Henkel Foundation to work on a book project on Christian cult images in early colonial New Spain. She maintains a major focus on image and piety in the Middle Ages and has co-edited the volume Bild und Körper im Mittelalter (2nd ed., 2008). The title of her first book is Lignum vitae: Zum Verhältnis materieller Bilder und mentaler Bildpraxis im Mittelalter (2014).

Bernd Roling

is Professor for Classical and Medieval Latin at the Institute for Greek and Latin Philology of the Freie Universität Berlin. His research interests include high medieval and early modern Latin poetry; medieval and early modern philosophy, especially philosophy of language; the history of early modern science; university history, with special focus on Scandinavia; and early modern esoteric traditions. Recent monographs are: Christliche Kabbalah und aristotelische Naturphilosophie im Werk des Paulus Ritius (2007); Locutio angelica: Die Diskussion der Engelsprache im Mittelalter und der Frühen Neuzeit als Antizipation einer Sprechakttheorie (2008); Drachen und Sirenen: Die Aufarbeitung und Abwicklung der Mythologie an den europäischen Universitäten (2010); Physica Sacra: Wunder, Naturwissenschaft und historischer Schriftsinn zwischen Mittelalter und Früher Neuzeit (2013); and, as critical editor with I. Ventura and B. van den Abeele, Bartholomaeus Anglicus, De proprietatibus rerum, vol. 1 (2007). He is currently preparing a book on the Swedish polymath Olaus Rudbeck and his reception in eighteenth-century Northern Europe.

Paul Smith

is Professor of French Literature at Leiden University. His research focuses on sixteenth-, seventeenth-, and twentieth-century French literature, its reception in the Netherlands, French, and Dutch fable books, literary rhetoric, and intermediality. He has also published on early-modern animal symbolism and zoology. His main book publications include: Voyage et écriture: Étude sur le Quart Livre de Rabelais (1987); Het schouwtoneel der dieren: Embleemfabels in de Nederlanden (1567–ca. 1670) (2006); Dispositio: Problematic Ordering in French Renaissance Literature (2007); and Réécrire la Renaissance, de Marcel Proust à Michel Tournier: Exercices de lecture rapprochée (2009). Recently he co-edited Emblems and the Natural World, with K.A.E. Enenkel (2017).

Marie Theres Stauffer

presently holds an appointment as an Associate Professor in Architectural History at the Unité d’histoire de l’art at the University of Geneva. She has pursued a wide range of research interests in early modern and modern architecture with a geographical focus on Italy, France, and Germany in the relationship between early modern science and art as well as in European and North American art of the twentieth century. She is particularly interested in issues of representation and meaning, visual perception, and the investigation of theoretical aspects of art and architecture. Her publications include Figurationen des Utopischen: Theoretische Projekte von Archizoom und Superstudio (2008) and Spiegelung und Raum: Semantische Perspektiven (2017). She is co-editor of Mehr als Schein: Oberflächen in Kunst, Literatur und Film, with H.-G. von Arburg et al. (2008); Art History on the Move: Hommage an/to Kurt W. Forster, with N. Baltzer et al. (2010); Statuts ambigus: Figures réversibles dans les arts/Zwischen Zuständen: Ästhetische Kippfiguren, with H.-G. von Arburg (2012); Olivier Bardin: L’implication des regards, with S. Kristensen (2016); and Machines à percevoir—Perception Machines, with S. Kristensen (2016).

Arnold A. Witte

is Associate Professor at the University of Amsterdam. From 2015 onwards he is on secondment to the Royal Netherlands Institute in Rome as Head of Art History. He has published widely on early Baroque art and ecclesiastical patronage in Rome, particularly on cardinal Odoardo Farnese and the painters of the Carracci school (The Artful Hermitage: The Palazzetto Farnese as a Counter-Reformation Diaeta, 2008). He also does research on the historiography of Italian Seicento art (Alois Riegl’s The Origins of Baroque Art in Rome, together with A. Hopkins and A. Payne, 2010; and contributions to Perspective and the Journal of Art Historiography).

Steffen Zierholz

is an Assistant Researcher and Lecturer at the Institute of Art History at the University of Bern. He received his Ph.D. in Art History in 2016 from the University of Bern where he has been a doctoral candidate within the Sinergia project “The Interior: Art, Space, and Performance (Early Modern to Postmodern) (2012–2016)”. In his Ph.D. dissertation Space and Self: Art and Spirituality in the Society of Jesus (1580–1700) (forthcoming) he explores the relationship between the actually built church interiors and the production of a Jesuit interiority.


Spaces, Places, and Times of Solitude in Late Medieval and Early Modern Cultures


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