Titian''s Allegory of Marriage: New Approaches

About

Daniel M. Unger teaches the History of Early Modern Art at Ben-Gurion University Israel. His research focuses on seventeenth-century Bolognese and Roman painting. His recent book Redefining Eclecticism in Early Modern Bolognese Painting: Ideology Practice and Criticism was published by Amsterdam University Press in 2019. Valery Rees teaches in the School of Philosophy and Economic Science in London and has held guest lectureships in Cambridge Warwick Budapest and Jerusalem. Her principal work over many years has been on The Letters of Marsilio Ficino (London: Shepheard Walwyn 11 vols. in print 19752020) Vol. 12 in preparation. Rees has co-edited and contributed to three essay collections: Platonism: Ficino to Foucault (Leiden: Brill 2020) Laus Platonici Philosophi: Marsilio Ficino and His Influence (Leiden: Brill 2011) and Marsilio Ficino: His Theology His Philosophy His Legacy (Leiden: Brill 2002). She has also contributed several articles to Brills Encyclopaedia of the Neo-Latin World (2014). Her monograph From Gabriel to Lucifer: A Cultural History of Angels is available in English and German (London: I B Tauris 2012 repr. 2015; Lambert Schneider 2017). She has published numerous articles on philosophy literature and religion in the Renaissance. Her most recent articles include: Philosophy on the Defensive: Marsilio Ficinos Response in a Time of Religious Turmoil in Platonism: From Ficino to Foucault eds. Valery Rees Anna Corrias Francesca Crasta Laura Follesa and Guido Giglioni (Leiden: Brill 2021) pp. 1631; Seeing and the Unseen: Marsilio Ficino and the Visual Arts Proceedings of Conference Held at the University of Vienna 1517 September 2011 in Iconology: Neoplatonism and the Arts in the Renaissance ed. by Berthold Hub and Sergius Kodera (Routledge 2021) pp. 6276; Translation Absorption Creation of Something New: Marsilio Ficino Reads Proclus in Humanistica Journal of Early Renaissance Studies xiii (n. s. vii) 2 2018; and Heredes et Scrutatores (Pisa: Fabrizio Serra editore 2020) pp. 6773. Mary Pardo is an Associate Professor in the Department of Art at the University of North Carolina in Chapel Hill. She specializes in Renaissance art criticism and theory written in the Italian vernacular. She has published essays on Albertis critical aim in Della pittura and on Renaissance concepts of pictorial illusion as they apply to the art of Giotto Leonardo Savoldo and Titian. Karen Watts is a Visiting Research and Teaching Fellow Postgraduate Institute for Medieval Studies University of Leeds; Professeur de Patrimoines et Archéologie Militaires Ecole du Louvre Paris; Curator and Archivist the Worshipful Company of Gold and Silver Wyre Drawers London; and Curator Emeritus Royal Armouries Museum Leeds. Honorific titles include Knight of the Order of Arts and Letters (chevalier de lordre des Arts et des Lettres) France and Fellow of the Society of Antiquaries London. In addition to teaching writing and PhD supervision she is currently the director and curator for a major exhibition in 2023 titled Treasures of Gold and Silver Wire to be held at the Guildhall Art Gallery London. Esthy Kravitz-Lurie teaches in the Department of Visual Design at the Sami Shamoon College of Engineering in Beer-Sheva. She received her PhD in 2018 from Ben-Gurion University of the Negev Israel. Her research deals with expressions of Renaissance literature in the mythological and narrative paintings of the Baroque period in particular Annibale Carracci and his followers and she interprets their work through pastoral dramas librettos and the epic poems of the Cinquecento. She recently completed a Post-Doc at Ben-Gurion University. Kravitz-Luries latest articles are: Hercules and Rinaldo: Annibale Carraccis Invenzione of Tassos Epic Hero Athens Journal of Humanities and Arts; Reevaluating Cupid and Pan: The Story of Eros and the Satyr in the Farnese Gallery which has been accepted for publication in the Journal of Baroque Studies. Paul Joannides is Emeritus Professor of the History of Art at the University of Cambridge. His main interests lie in the painting sculpture drawing and to a lesser extent architecture of the Italian Renaissance. He has published widely on such artists as Masaccio Michelangelo Raphael and Titian and to a lesser extent on other figures such as Fra Angelico Botticelli and Leonardo. He has also written on French late eighteenth- and early nineteenth-century painting. His principal publications are: The Drawings of Raphael (London 1983); Masaccio and Masolino (London 1993); Titian to 1518: The Assumption of Genius (New Haven 2001); Michel-Ange Ecole Copistes Inventaire des Dessins Italiens (Paris 2003); Drawings by Michelangelo and His Followers in the Ashmolean Museum (Cambridge 2007.) His exhibition catalogues include: Michelangelo and His Influence an exhibition of 68 drawings for the Royal Collection shown in United States and the United Kingdom between 1996 and 1998; Raphael and His Age: Drawings from the Palais des Beaux-Arts Lille an exhibition of 57 drawings shown in the United States and France in 20022003 and Late Raphael co-curated with Professor Tom Henry which was shown at the Prado and the Louvre in 20122013. Sara Benninga is a lecturer in the Department of Art History at Tel Aviv University and in the Department of Visual and Material Culture at Bezalel Academy of Art and Design. Her research focuses on seventeenth-century Dutch and Flemish art the representation of the body and manifestation of pleasure in art and iconography. Benninga earned her PhD in art history at the Hebrew University of Jerusalem (July 2017). She has an MA in art history from the Hebrew University (2009) and a BA in art history and comparative literature from Tel-Aviv University (2006) as well as a BFA from Bezalel Academy (2012). She has published a number of articles among which the most recent are: Issues in the Representation of the Meal in Western Art in: Thoughts on the Meal in Visual and Material Culture (Jerusalem: Bezalel Academy of Art and Design 2020); The Changing Perception of the Senses Ikonotheka 29 (2019): 105124; and Writing Intimacies: Rubens Licit Pleasures in: Epistolary Discourse: Letters and Letter Writing in Early Modern Art edited by Lilian Zirpolo (Ramsey NJ: Zephyrus Scholarly Publications 2019) 99118. Geoff Lehman did his doctoral work in art history at Columbia University where he wrote a dissertation on the relationship between perspective and Renaissance landscape painting. Since 2006 he has been on the faculty of Bard College Berlin and has been teaching in its interdisciplinary liberal arts program. His research interests include the theory and history of perspective landscape painting the phenomenology of art and the relationship between art and philosophy. Lehmans book The Parthenon and Liberal Education co-written with Michael Weinman which focused on the Parthenon in relation to ancient Greek mathematics and to Platos dialogues was published in 2018 by SUNY Press. Sergius Kodera received his PhD in 1994. Since then he has been teaching Early Modern and Renaissance Philosophy in the Department of Philosophy at the University of Vienna. Habilitation in 2004. He has been awarded fellowships in London (Warburg Institute) Vienna (IFK) New York (Columbia) Berlin (Freie Universität). Kodera has published on and/or is a translator of the work of such authors as Marsilio Ficino Machiavelli Leone Ebreo Girolamo Cardano Giovan Battista della Porta Giordano Bruno Francis Bacon and Kenelm Digby. His main fields of interest are the history of the body and sexuality magic media and concepts of space in trans-disciplinary perspectives. He is currently working on a book-length study on Della Porta in English.