My thesis will examine the patronage of the Loredan family in Venice and the terraferma in the early sixteenth century. Immortalised in paint by Giovanni Bellini, Doge Leonardo Loredan (1436-1521) is one of the most recognisable figures of Renaissance Italy, and yet his role as a patron of the arts at this seminal period in Venetian art history remains largely unexplored. Still more can be said about the array of artistic projects undertaken for the Doge’s wider family, which often overlapped with those overseen by Leonardo. Encompassing the public and the private, the official, religious and the dynastic, Loredan patronage will be shown to have been an extensive, thoroughly interconnected project, one that embellished countless sites across Venice, and involved almost every major artist at work in the city in the early sixteenth century.
2018-21: Getty Curatorial Fellow, Old Master Drawings, British Museum
2015-18: Prints and Drawings, British Library
‘A draughtsman rediscovered: the workshop archive of Raffaello Vanni (1595-1673)’ (in progress).
Three entries: “Disegno per brocca”, “Disegno per saliera” and “Disegno per pinza da tavola” in B. Furlotti and G. Rebecchini eds, Giulio Romano. La forza delle cose, exh. cat., Palazzo Te (Venice: Marsilio, 2022) (forthcoming).
‘Tre nuovi disegni di Francesco Vanni per la “Caduta di Simon Mago” in Vaticano’, in M. Ciampolini ed., Francesco Rustici e il Naturalismo a Siena, 2022 (forthcoming).
Two entries: “Study for the Madonna of the Long Neck” and “Study for the Entombment/The Entombment” in K. Gottardo and G. Rebecchini eds, The Art of Experiment: Parmigianino at The Courtauld, exh. cat., Courtauld Gallery (London: Paul Holberton, 2022), pp. 72-7 and 126-31.
‘Bernardino Poccetti as Collector’, with A. Röstel, in A. Diéguez and A. Rodriguez Rebollo eds, The Pictor Doctus, between Knowledge and Workshop. Artists, Collections and Friendship in Europe, 1500-1900 (Turnhout: Brepols, 2021), pp. 47-75.
2022: Guest lecturer, MA: ‘Reframing Renaissance Art from Masaccio to Michelangelo’, Courtauld Institute.
2018-present: Supervisor and lecturer, Part II undergraduate BA course: ‘Drawing in Renaissance Italy, c. 1480-1600’, Cambridge University.
Select conference papers/lectures
‘A fresh look at Parmigianino: the use of blind stylus’, Renaissance Society of America, 2022.
‘Parmigianino Drawings at the British Museum’, Courtauld Institute, 2021.
‘A baroque draughtsman rediscovered: the workshop archive of Raffaello Vanni’, Renaissance Society of America, 2021.
‘Charles I’s collection of prints and drawings’, Royal Academy/Paul Mellon Centre, 2018.
‘Visual knowledge and the Grand Tour: the collection of Walter Bowman’, Institute for Historical Research, University of London, 2018.
Other Academic Posts
2021-(present): Associated Academic, Department of Prints and Drawings, British Museum
2021-2: Research Associate, Department of Easel Conservation, Courtauld Institute
- Italian Renaissance Art
- Prints and Drawings
- The History of Collecting
- The Visual Arts in Britain, c. 1500-1800 (especially in Scotland)
- Artistic Exchanges between Britain and Italy
MPhil – Cambridge
BA – Corpus Christi College, Cambridge