Bernadine Barnes

is a professor of Art History in the Art Department at Wake Forest University. She specializes in Italian Renaissance art and the history of prints. She has published extensively on Michelangelo’s work, including Michelangelo and the Viewer in his Time and Michelangelo in Print. Her research interests focus on audience responses and the critical reception of art, with a special interest on female viewers and printed reproductions as indicators of viewer response.

Anne Bloemacher

is assistant professor of Art History at the University of Münster, where she completed her PhD in 2012 with a thesis on “Raphael and Marcantonio Raimondi” (funded by the German National Academic Foundation), published as a monograph in 2016. Other recent publications treat erotic prints in Raphael’s circle and the self-fashioning of Maximilian I. Her main research areas are early modern prints and Italian and Northern Renaissance Painting and Sculpture. She is currently pursuing research for her new book on the artist’s hands.

Marzia Faietti

Marzia Faietti, former Director of the Gabinetto dei Disegni e delle Stampe at the Gallerie degli Uffizi, teachs at the Scuola di Specializzazione in Storia dell’Arte at the Università di Bologna and at the Università Cattolica del Sacro Cuore, Milan, and is associate researcher of the Kunsthistorisches Institut in Florenz – Max-Planck-Institut. Her research interests span the Ferrarese painting of the post-Tridentine era; the Bolognese and Emilian graphics of the fifteenth century and its developments up to the contemporary age; the drawing and painting of central Italy of the fifteenth and sixteenth century; the Italian erotic engraving of the sixteenth century and its relationship with antiquity; the graphic line and its theoretical implications; the artistic personalities of Andrea Mantegna, Amico Aspertini, Leonardo, Raphael, Francesco Mazzola, known as Parmigianino. Among the most recent publications figures the catalogue of the Raffaello 1520–1583 exhibition (Rome, Scuderie del Quirinale, 2020) published with Matteo Lafranconi.

Gudrun Knaus

is a project manager at Graphikportal (Gateway to graphic arts), an art historical database developed in collaboration with the German Documentation Centre for Art History – Bildarchiv Foto Marburg, and has been responsible for the design and development of the database since 2014. She is also the coordinator of the international working group Graphik vernetzt (Graphics networked), which aims to implement common digitalization standards for the digital networking of graphic collections. Knaus received her PhD in 2010 from the University of Berne for a thesis entitled: “Invenit, incisit, imitavit. Die Kupferstiche von Marcantonio Raimondi als Schlüssel zur weltweiten Raffael-Rezeption 1510–1700”, published by De Gruyter in 2016 and funded by the Swiss National Science Foundation.

Angelika Marinovic

is a university assistant and doctoral candidate at the University of Vienna.

She received her Master of Arts in 2015 from the University of Vienna. Her master’s thesis, “Die Clair-obscur-Holzschnitte des Monogrammisten NDB. Ein Bologneser Formschneider in Fontainebleau?” was awarded the Sir Ernst Gombrich-Nachwuchspreis from the Society for Art History at the University of Vienna and the Würdigungspreis from the Austrian Ministry of Science, Research and Economics.

Her doctoral thesis on the engraver Agostino Veneziano and printmaking in Italy in the early 16th century is supported by a DOC-fellowship from the Austrian Academy of Science.

Maria Gabriella Matarazzo

Maria Gabriella Matarazzo holds a PhD from Scuola Normale Superiore of Pisa, where in 2020 she defended her dissertation on the notion of chiaroscuro in the theory and practice of art in seventeenth-century Rome. During her PhD, she was a visiting scholar at New York University (2016–17) and Johns Hopkins University (2018–19, supported by the Singleton Center for the Study of Premodern Europe). Previously, she received a M.A. cum laude from the University of Pisa and Scuola Normale Superiore. Her M.A. thesis was the first catalogue raisonné of the Dutch engraver Cornelis Bloemaert, whose workshop practices in Rome were the subject of an article published in 2017 in Print Quarterly. Her forthcoming article in the Mitteilungen des Kunsthistorischen Institutes in Florenz will also investigate Bloemaert’s artistic collaboration with the painter Ciro Ferri. Most recently, she published an essay that focuses on the engraving technique of Andrea Pozzo’s collaborators for his treatise on perspective as part of the edited volume “I colori del marmo”.

Claudia Echinger-Maurach

is professor of Art History at the University of Münster. She has studied Art History, Philosophy, Archeology and Ancient History at the universities of Munich and Braunschweig and has been trained as a sculptor from 1970–1975 at the Akademie der bildenden Künste in Munich. Her main research areas are Michelangelo on whom she published extensively (including her dissertation on the tomb of Julius II in Florence and Rome), Leonardo da Vinci and French painting in the 19th century.

Mandy Richter

is collaborator in the department of Alessandro Nova at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut. She has studied Art History, American Studies, and Computer Science at the Technische Universität in Dresden and at the Scuola Normale Superiore in Pisa. In 2014, she received a PhD in Art History. Her first book, Die Renaissance der Kauernden Venus. Ihr Nachleben zwischen Aktualisierung und Neumodellierung von 1500 bis 1570, was published by Harrassowitz in 2016. Together with Fabian Jonietz and Alison Stewart, she is preparing a publication on Indecent Bodies in Renaissance Visual Culture.

Franciszek Skibiński

has a PhD in Art History from Utrecht University. He currently works as an assistant professor of Art History and Heritage Studies at the Nicolaus Copernicus University in Toruń and at the National Museum in Gdańsk. His scholarly interests are focused on art and architecture in the Baltic Region and the Low Countries in the 16th and early 17th century, especially the patterns of artistic and cultural exchange. His recent publications include Willem van den Blocke. A Sculptor from the Low Countries in the Baltic Region (2020).

Madeleine C. Viljoen

Curator of Prints and the Spencer Collection, is responsible for the care of The New York Public Library’s wide-ranging collection of prints and illustrated books from their origins to the present. Her articles have appeared in Print Quarterly, The Memoirs of the American Academy in Rome, Zeitschrift für Kunstgeschichte, Renaissance Quarterly, the Oxford Art Journal, The Art Bulletin, as well as in exhibition catalogues and collections of essays. During her tenure at the Library she has organized numerous exhibitions, including, Printing Women, Love in Venice and Daring Methods: The Prints of Mary Cassatt. She is currently working on an exhibition to commemorate the 300-year anniversary of the speculation schemes known as the Mississippi and South Sea Bubbles.