Giulia Martina Weston read History of Art at the Sapienza University of Rome, from which she holds a BA and MA, and where she specialised in Italian Baroque art. She completed her PhD, entitled ‘Niccolò Tornioli: The Life and Times of a Sienese Painter in 17th-century Rome’, at the Courtauld Institute of Art in 2015. Her doctoral thesis received support from the Edmond J Safra Philanthropic Foundation, the Garfield Weston Foundation and the Art & Humanities Research Council.
Her research interests include: court art and society in 17th-century Italy, art and technology in the post-Galilean age, painting on stone and cross-media experiments, collecting strategies and the display of art in Baroque Rome, and the reception of Italian Seicento in British literature.
She has recently coedited the volume I Pittori del Dissenso. Giovanni Benedetto Castiglione, Andrea de Leone, Pier Francesco Mola, Pietro Testa, Salvator Rosa (Artemide, 2014) and is currently working on a monographic study on Salvator Rosa’s literary and artistic reception in Britain during the 18th and 19th centuries. As well as preparing her doctoral thesis for publication (Artemide, 2016), she has published a series of essays and articles concerning the epistemological transformations in post-Galilean paintings, the bond between art and book collecting in mid-Seicento Rome, and the practice of painting on stone in Florence, Rome and Siena.
As a Teaching Assistant at The Courtauld in 2014-15, Giulia Martina Weston taught the MA Core Methodology course. From 2009 to 2011 she was Researcher for the Getty project Roman Inventories 1550-1750, centered on the display of art and its meaning.
- BA History of Art Year 2: Constellations II – The Court Artist
- Collecting strategies and the display of art in the age of the Baroque
- Philosophy, Alchemy, Science and Magic in early modern art
- Art and patronage in Rome and Siena
- Painting on stone and cross-media experiments
- The reception of Italian Seicento in 18th and 19th-century Britain
Salvator Rosa nel Regno Unito. Arte, collezionismo e fortuna critica (Rome: Artemide, 2017).
Niccolò Tornioli (1606-1651). Art and patronage in Baroque Rome (Rome: Artemide, 2016).
Albl; A. V. Sganzerla; G. M. Weston (eds.), I Pittori del Dissenso. Giovanni Benedetto Castiglione, Andrea de Leone, Pier Francesco Mola, Pietro Testa, Salvator Rosa (Rome: Artemide, 2014).
Sapere scientifico ed erudizione letteraria nelle opera di Niccolò Tornioli nella Galleria Spada, in M. C. Cola (ed.), Mostrare il sapere (Vatican City: Edizioni Musei Vaticani, 2017).
Invention, ambition and failure: Niccolò Tornioli (1606-1651) and ‘il segreto di colorire il marmo’, in P. Baker-Bates; E. Calvillo (eds), ‘La Pittura poco meno che eterna’: Paintings on Stone and Material Innovation (Leiden: Brill, 2017).
Universal knowledge and self-fashioning: Cardinal Bernardino Spada’s collection of books, in A. Bautz; J. R. Gregory (eds), Libraries, Books, and Collectors of Texts, 1600-1900 (London and New York: Routledge, Taylor & Francis, 2017).
Il dissenso nella pittura: temi e questioni dell’eredità critica di Luigi Salerno, in S. Albl; A. V. Sganzerla; G. M. Weston (eds), I Pittori del Dissenso. Giovanni Benedetto Castiglione, Andrea de Leone, Pier Francesco Mola, Pietro Testa, Salvator Rosa (Rome: Artemide, 2014).
Tra il quotidiano e il simbolico. L’utilizzo e il fasto dei tessuti nell’arredo settecentesco di Palazzo Lancellotti a Piazza Navona, in C. Volpi (ed), Vestire i palazzi. Stoffe, tessuti e parati negli arredi e nell’arte del Barocco (Vatican City: Edizioni Musei Vaticani, 2014).
“Salvator Rosa’s Landscapes in 18th-century Britain. From physical presence to literary interpretation”, Valori Tattili 5 (2016).
“After Galileo: The Image of Science in Niccolò Tornioli’s Astronomers”, Art History 39, 2 (2016): 302-317.
“True miracles: Niccolò Tornioli’s Episodes of St. Philip Neri’s Life in the Sala Rossa of Santa Maria in Vallicella (1643-1651)”, Annales Oratorii 13 (2015): 81-123.
Online Publications (selected)
“Clare Robertson, Rome 1600: The City and the Visual Arts under Clement VIII. Book Launch at The British School at Rome”, News-Art 15.03.2016.
“Da Dürer a Warburg e ritorno”, News-Art 30.11.2013.
“Rubens e l’eredità italiana. Il caso del corpus rubensiano della Courtauld Gallery di Londra”, BTA 12.10.2012, n. 662.
“La Calunnia di Botticelli. Cenni sulla genesi, sugli espedienti retorici e sulle finalità dell’opera”, BTA 30.10.2009, n. 554.
Salvator Rosa and Niccolò Tornioli: Portraying alchemical and astronomical knowledge in post-Galilean Rome, presented at Scientiae Oxford 2016, Oxford, St. Anne’s College, 5-7 July 2016.
Niccolò Tornioli and ‘il segreto di colorire il marmo’, presented at ‘La pittura poco meno che eterna’: Painting on Stone and Material Innovation, Rome, The British School at Rome, 17 May 2016.
Magiche ed epistemiche: le immagini della scienza nella Roma di Salvator Rosa, presented at Roma e Napoli al tempo di Salvator Rosa, Rome, Accademia di San Luca, 15-16 December 2015.
Universal knowledge and self-fashioning: Cardinal Bernardino Spada’s collection of books, presented at Collecting Texts & Manuscripts, 1660-1860, Plymouth University, 16-17 April 2015.
On Tornioli’s Art and Galileo’s legacy, presented at The 2014 Courtauld Institute of Art Postgraduate Symposium: Showcasing New Research, London, The Courtauld Institute of Art, 6-7 March 2014.
Notes on the demiurgic activity of the artist in the Early Modern period, presented at the Courtauld Fifth Early Modern Symposium, Work in Progress. Bringing Art into Being in the Early Modern Period, London, The Courtauld Institute of Art, 26 October 2013.
I pittori del dissenso: temi e finalità della Giornata di Studi, presented at the International Conference I Pittori del Dissenso, Rome, Istituto Storico Austriaco, 17 May 2013.
Salvator Rosa’s British afterlives, presented at the Courtauld Fourth Early Modern Symposium, Art and Its Afterlives, London, The Courtauld Institute of Art, 17 November 2013.
Il Palazzo Lancellotti in Piazza Navona: ipotesi per una ricostruzione fisico-cromatica degli ambienti descritti nell’inventario di Ottavio Maria Lancellotti (1703), presented at Display of Art in Roman Palaces in the Long 17th Century (1550-1750), Rome, Sapienza University, 16-17 June 2010.
Co-organizer (with Simona Sperindei) of the International Conference ‘A tale of two cities’: Rome and Siena in the Early Modern Period, Rome, The British School at Rome, April 2017.
Co-organizer (with Anya Matthews) of the Courtauld Fifth Early Modern Symposium, Work in Progress. Bringing Art into Being in the Early Modern Period, London, The Courtauld Institute of Art, 26 October 2013.
Co-organizer (with Stefan Albl and Anita Viola Sganzerla) of the International Conference I Pittori del Dissenso, Rome, Istituto Storico Austriaco, 17 May 2013.
Other current/ongoing professional activities
- Member of the scientific committee, ‘Pensieri ad Arte’
- Reviewer, News-Art
- Editor-referee, BTA – Bollettino Telematico dell’Arte