Louis A. Waldman, Ph.D.

Department of Art and Art History The University of Texas at Austin 1 University Station Austin TX 78758 USA [email protected]

EDUCATION Ph.D., Institute of Fine Arts, New York University, 1999.

M.A., Institute of Fine Arts, New York University, 1993.

B.A., Hunter College of the City University of New York, 1989.

POSITIONS, CURRENT

Fall 2006- Associate Professor, University of Texas at Austin.

POSITIONS, PREVIOUS

July 2007-June 2010 Assistant Director for Programs, Villa I Tatti, The Harvard Center for Italian Renaissance Studies (first appointee in new rotating three-year position).

July 2007-June 2010 Associate Editor of the journal I Tatti Studies published by Harvard University

Fall 2000-Spring 2006 Assistant Professor, University of Texas at Austin.

Fall 1999-Summer 2000 Senior Lecturer, University of Texas at Austin.

Spring 1999 Lecturer, Syracuse University in Florence.

Fall 1998 Lecturer, University of Texas at San Antonio in Florence.

RESEARCH

A. Books

Louis A. Waldman, p. 2

Baccio Bandinelli and Art at the Medici Court: A Corpus of Early Modern Sources (Philadelphia: American Philosophical Society, 2004).

B. Book in progress Leonardo ed i suoi due “padri”: L’artista attraverso la lente delle sue opere perdute,

C. Books Edited

8). With Robert Gaston: San Lorenzo: A Florentine Church, 2 vols. (Florence: Villa I Tatti/Leo S. Olschki), forthcoming.

7). With Joseph Connors: Bernard Berenson: Origins and Legacy (Florence: Villa I Tatti/Dumbarton Oaks), 2014.

6). With Machtelt Israëls: Renaissance Studies in Honor of Joseph Connors, 2 vols. (Florence: Villa I Tatti/Officina Editrice, distributed by Harvard University Press), 2013. lxi + 1025 + xvii + 759 pp. ISBN 978-0-674-07327-2

5). With Cinzia Maria Sicca: The Anglo-Florentine Renaissance: Art for the Early Tudors, (New Haven and London, The Yale Center for British Art and The Paul Mellon Centre for Studies in British Art [Studies in British Art 22], 2012). x + 424 pp. ISBN 978-0-300-17608-7.

4). With Gerhard Wolf and Joseph Connors: Colors Between Two Worlds: The Florentine Codex of Bernardino de Sahagún (Florence: Villa I Tatti/Officina Editrice, 2012), 506 pp. ISBN 978-0674064621.

3). With Péter Farbaky: Italy and Hungary: Humanism and Art in the Early Renaissance (Florence: Villa I Tatti/Officina Editrice, 2011). xli + 728 pp., 154 col., 107 b/w ills. ISBN 9780674063464. Reviewed: http://jekely.blogspot.com/2011/10/italy-and-hungary-in-renaissance-book.html

2). With Machtelt Israëls: Toward a Festschrift: Renaissance Studies in Honor of Joseph Connors, (Florence: Villa I Tatti/Leo S. Olschki, 2010). 63 pp., 27 col. ills. ISBN 9788822260222.

1). With Caroline Elam: Craig Hugh Smyth – In Memoriam (Florence: Villa I Tatti/Leo S. Olschki, 2009). 53 pp., 1 col. and 6 b/w ills. ISBN 9788822259547.

C. Articles and Essays (peer-reviewed publications marked by an asterisk; titles in blue are on Academia.edu)

In Print:

*98). “Naldo Naldi and the Completion of Verrocchio’s Tomb of Piero and Giovanni de’ Medici,” in Essays in Honor of Laurie Schneider Adams, Source, XXXV, Nos. 1-2 (Fall 2015/Winter 2016), pp. 135-146.

*97). “’Vadunt ad habitandum hebrei’: The Otto di Balìa, Vasari, and the Hiding of Murals in Sixteenth- Century Florence,” Mitteilungen des Kunsthistorischen Institutes in Florenz, LVI, No. 3 (2014), pp. 350-354. Louis A. Waldman, p. 3

96). “Alexander Formoser: un pittore straniero, mediatore di cultura fiorentina,” in Mattia Corvino e Firenze. Arte e umanesimo alla corte del Re dell’Ungheria, ed. Péter Farbaky, Dániel Pócs, Magnolia Scudieri, Lia Brunori, exh. cat., Florence, Museo di San Marco, 2013, pp. 312-315.

95).“L’Incoronazione della Vergine per San Girolamo alla Costa, nel passaggio fra Rinascimento e ‘maniera’,” in Norma e capriccio: spagnoli in italia agli esordi della maniera moderna, exh. cat., ed. Tommaso Mozzati and Antonio Natali, Florence, Galleria Nazionale degli Uffizi, 2013, pp. 86-99.

*94). “The Contractors for Jacopo Sansovino’s Façade of San Francesco della Vigna in Venice (Octahedron Tattianum VIII),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2013), I, pp. 16-18, 766.

*93). “Pontormo, Niccolò di Pietro Gerini, and the Capponi Chapel (Octahedron Tattianum VII),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2013), I, pp. 15-16, 766.

*92). “Mariotto Albertinelli, pictor et hospes (Octahedron Tattianum VI),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2013), I, pp. 12-14, 765.

*91). “An Unknown Copyist of Leonardo’s Battle of Anghiari: Francesco Morandini, Called Il Poppi (Octahedron Tattianum V),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2013), I, pp. 10-12, 764.

*90). “Larciani and Granacci Side by Side (Octahedron Tattianum IV),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2013), I, pp. 8-10, 763.

*89). “From Gozzoli to Bartolomeo di Giovanni: A Demi-Fake (Octahedron Tattianum III),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2013), I, pp. 7-8, 762.

*88). “Lucantonio degli Uberti, ‘Albertus Pictor Florentinus’, and the Master of the Esztergom Virtues (Octahedron Tattianum II),”, in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2013), I, pp. 3-7, 759-761.

*87). “A Rediscovered Medal of Crescentius Nomentanus by Filarete (Octahedron Tattianum I),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2013), I, pp. 1-3, 758.

*86). “The Rise of the Patronage Portrait in Late Renaissance Florence: An Enigmatic Portrait of Giovanni di Paolo Rucellai and Its Role in Family Commemoration,” Mitteilungen des Kunsthistorischen Institutes in Florenz, LIV, No. 1 (2010-12), pp. 133-154 (with Brenda Preyer).

*85). “Benedetto da Rovezzano in England and After: New Research on the Artist, His Collaborators, and His Family,” in The Anglo-Florentine Renaissance: Art for the Early Tudors, ed. Cinzia Maria Sicca and Louis A. Waldman, p. 4

Louis A. Waldman (New Haven and London, The Yale Center for British Art and The Paul Mellon Centre for Studies in British Art [Studies in British Art 22], 2012), pp. 79-145.

84). “Giorgio Vasari: Annunciation (1570-1571) from the Chapel of St. Michael, Torre Pia, Vatican Palace,” in Giorgio Vasari 1511-1574: The Painter of the Szeged Annunciation, ed. István Zombori and Tamás Szabó, Szeged, 2011, pp. 54-67.

83). “Nuove tracce per l’attività di Rustici a Firenze”, in Giovan Francesco Rustici, exh. cat., Florence, Museo Nazionale del Bargello, 2010, pp. 64-73.

*82). “Commissioning Art in Florence for Matthias Corvinus: The Painter and Agent Alexander Formoser and His Sons, Jacopo and Raffaello del Tedesco,” in Italy and Hungary: Humanism and Art in the Early Renaissance, ed. Péter Farbaky and Louis A. Waldman (Florence: Villa I Tatti/Officina Editrice), 2011, pp. 426-501.

*81). “Jagiellonian Epilogue: Three Tuscan Painters in the Buda of Louis II (with Notes on the Hungarian Community in Sixteenth-Century Florence),” ibid., pp. 676-693.

*80). “Gregorio di Lorenzo in Florence and Hungary: The Bust of Ser Piero Talani and an Amazonomachy Fragment from Vác,” in Beatrice Paolozzi Strozzi, Joseph Connors, Alessandro Nova and Gerhard Wolf (ed.), Desiderio da Settignano. Atti del Convegno 9-12 maggio 2007, Kunsthistorisches Institut in Florenz, Villa I Tatti, Museo Nazionale del Bargello, Florence, 2011, pp. 309-328.

*79). “Botticelli and His Patrons: The Arte del Cambio, the Vespucci, and the Compagnia dello Spirito Santo in Montelupo,” in Sandro Botticelli and Herbert Horne: New Research, ed. Rab Hatfield, Florence, 2009, pp. 105-135.

*78). “Two Venetian Painters in Duke Alessandro’s Florence: Battista di Francesco di Giovanni and Paolo di Giovan Ghezzo,” Source, XXVIII, No. 3 (Spring 2009), pp. 19-23.

*77). “An Unpublished Albertinellian Madonna by Giovanni Larciani,” Source, XXVIII, no. 2 (Winter 2009), pp. 14-21.

*76). “The Recent Vincenzo Danti Exhibition in Florence,” The Burlington Magazine, CL, No. 1267 (October 2008), pp. 680-686.

*75). “‘Se bene era dipintore di fantocci...’: Nunziata d’Antonio, Painter, Pyrotechnician and Bombardier of Florence,” Paragone, LIX, No. 703 (September 2008), pp. 72-86.

*74). “A New Drawing by Alonso Berruguete in Lisbon,” Source, XXVII, No. 4 (Summer 2008), pp. 11- 15.

*73). “Sogliani and His Patrons: The Albizzi, Bernardi, and Serristori Altarpieces,” Paragone, LIX, No. 697 (March 2008), pp. 69-86, figs. 63-71.

Louis A. Waldman, p. 5

*72). “A Drawing by Tribolo for Montorsoli’s Lost Hercules and Antaeus for the Medici Villa at Castello,” Szépművészeti Múzeum Közleményei [Bulletin du Musée Hongrois des Beaux-Arts], 105 (2008), pp. 93-100.

71). “Parigi/Firenze: Novità per il pittore fiorentino Bartolomeo Ghetti,” Erba d’Arno, CXI (Winter 2008), pp. 45-58.

*70). “The Terracotta Sculptor Agnolo di Polo de’ Vetri: The Prison, the Pievano, the Pratese, and the Cook,” Mitteilungen des Kunsthistorischen Institute in Florenz, LI, no. 3/4 (2007), pp. 337-350.

*69). “A Rediscovered Portrait of Benvenuto Cellini Attributed to Francesco Ferrucci del Tadda and Cellini,” The Burlington Magazine, CXLIX, No. 1257 (December 2007), pp. 820-830.

*68). “‘Io Mariotto di Christofano sono chontento chome disopra si chontiene’: An Artistic Contract of 1440,” Source, XXVII, No. 1 (Fall 2007), pp. 10-13.

*67). “The Donation of Antonio del Pollaiuolo’s Workshop to Salvestro del Pollaiuolo” The Burlington Magazine, CXLIX, No. 1252 (July 2007), pp. 471-472.

66). “Ha tíz perc alatt nem vagy meggyz, felejtsd el az elméletedet: Louis A. Waldman mvészettörténésszel Pallag Zoltán és Szele Bálint készített interjút” (“‘If You Can’t Convince People in Ten Minutes, Throw It Out’: Art Historian Louis A. Waldman Talks to Zoltán Pallag and Bálint Szele [about Botticelli, the Master of the Esztergom Virtues, and the methodology of connoisseurship]”), Élet és Irodalom [Life and Letters], LI, no. 28 (July 13, 2007), p. 7.

*65). “Two New Contracts for Niccolò Soggi’s Ricciardi Nativity in Arezzo,” Paragone, LVIII, No. 625 (March 2007), pp. 80-88, figs. 64-66.

64). “The Family of Bernardo Buontalenti and the Artistic Career of His Father Francesco di Domenico Rosselli,” in Invisibile agli occhi. Atti della giornata di studio in ricordo di Lisa Venturini, Firenze, Fondazione Roberto Longhi, 15 dicembre 2005, ed. Nicoletta Baldini, (Florence: Fondazione Longhi 2007), pp. 138-157, figs. 159-161.

*63). “The Origins of the Self-Portrait Bust: Rediscovering Bartolomeo di Jacopo,” Source, XXVI, No. 4 (Summer 2007), pp. 9-15.

*62). “Nicoletto da Modena and Giovanni Larciani,” Print Quarterly, XXIV, no. 2 (June 2007), pp. 41-45.

*61). “New Paintings by Giovambattista del Verrocchio,” Source, XXVI, No. 3 (Spring 2007), pp. 34-39.

*60). “The Contract for Andrea Sansovino’s Baptism of Christ for the Florentine Baptistery,” The Sculpture Journal, XVI, no. 1 (Spring 2007), pp. 1-5.

*59). “An Unknown Commission of Giovanni della Robbia: The San Basilio Tabernacle for the Florentine Compagnia dello Spirito Santo,” Source, XXVI, no. 2 (2007), pp. 1-8.

Louis A. Waldman, p. 6

*58). “Raffaellino del Garbo and His World: Commissions, Patrons, Associates,” Artibus et Historiae, LIV (2006), pp. 51-94.

*57). “‘He Ran Away to Rome and Defrauded the Said Nuns’: Bernardo di Leonardo, Francesco Granacci, and the San Giorgio sulla Costa Altarpiece,” Source, XXVI, no. 1 (2006), pp. 22-26.

56). “Scalabrino a Cerreto Guidi e altrove. Acquisti documentari e qualche nuova attribuzione,” Erba d’Arno, CVI (Autumn 2006), pp. 31-41.

*55). “Sculptor and Perfumer in Early Renaissance Florence: The Career of Sandro di Lorenzo,” Mitteilungen des Kunsthistorischen Institutes in Florenz, XLIX, no. 4/5 (2005), pp. 119-132.

*54). “Patronage, Lineage, and Self-Promotion in Maso da San Friano’s Naples Double Portrait,” I Tatti Studies, X (2005), pp. 149-172.

*53). “New Documents for the Florentine Painter Antonio di Donnino del Mazziere,” Source, XXV, no. 1 (2005), pp. 27-32.

52). “‘Ingenious and Subtle Spirits’: Florentine Painting in the First Half of the Sixteenth Century,” in Leonardo da Vinci, Michelangelo, and the Renaissance in Florence, exh. cat., Ottawa, National Gallery of Canada (2005), pp. 24-39.

*51). “A Raphael Riddle Resolved,” The Burlington Magazine, CXLVI, No. 1220 (2004), pp. 753-757. See also letter, “Raphael in Florence in 1508,” The Burlington Magazine, CXLVII, No. 1226 (2005), p. 335.

*50). “The Patronage of a Favorite of Leo X: Cardinal Niccolò Pandolfini, Ridolfo Ghirlandaio, and the Unfinished Tomb by Baccio da Montelupo,” Mitteilungen des Kunsthistorischen Institutes in Florenz, XLVIII, no. 1/2 (2004), pp. 105-128.

49). “La questione dei dipinti postumi di Filippino Lippi: Fra Girolamo da Brescia, il ‘Maestro di Memphis’, e la pala d’altare a Fabbrica di Peccioli,” in Filippino Lippi e Pietro Perugino. La Deposizione della Santissima Annunziata e il suo restauro, ed. Franca Falletti and Jonathan Katz Nelson (Florence, 2004), pp. 120-147 (with Jonathan Katz Nelson).

48). “Documenti inediti su Filippino e le sue opere,” ibid., pp. 172-181.

*47). “Domenico Fetti’s Philosophers,” Source, XXIV, no. 1 (2004), pp. 26-35.

*46). “Colored Sculpture or Three-Dimensional Painting? A Note on Renaissance Artistic Terminology (and Filippo della Robbia),” Source, XXIII, no. 4 (2004), pp. 15-18.

*45). “A Patron for Cesare Velli’s Lamentation in Borgo San Lorenzo,” Source, XXIII, no. 3 (2004), pp. 4-9.

*44). “A New Identification for the Master of the Copenhagen ‘Charity’: Bartolomeo Ghetti in Tuscany and France,” The Burlington Magazine, CXLV, no. 1198 (2003), pp. 4-13.

Louis A. Waldman, p. 7

*43). “Michele d’Alessio di Papi: The Patron of Pontormo’s S. Ruffillo Altarpiece,” Apollo, CLVIII (September 2003), pp. 40-45.

*42). “Children of Mercury: New Light on Florentine Members of the Company of St. Luke (c. 1475-c. 1525),” Mitteilungen des Kunsthistorischen Institutes in Florenz, XLVII (2003), pp. 118-158 (with Dennis Geronimus).

*41). “New Reliefs by Alessandro Fancelli, called Scherano, for the Certosa di Galluzzo,” The Sculpture Journal, IX (2003), pp. 38-45.

*40). “‘Bad Painting’ in Renaissance Florence: Domenico di Bartolomeo, called Malfetta, Painter and Art Dealer,” Source, XXIII, no. 1 (2003), pp. 34-38.

*39). “New Light on the Capponi Chapel in S. Felicita” The Art Bulletin, LXXIV, no. 2 (2002), pp. 293- 314.

*38). “Two Foreign Artists in Renaissance Florence: Alonso Berruguete and Gian Francesco Bembo,” Apollo, CLV, no. 484 (June 2002), pp. 22-29.

37). “Bandinelli and the Opera di Santa Maria del Fiore: Privilege, Patronage and Pedagogy,” in Santa Maria del Fiore: The Cathedral and Its Sculpture, ed. Margaret Haines (Fiesole: Cadmo, 2001) pp. 217-252.

36). “The Rank and File of Renaissance Painting: Giovanni Larciani and the ‘Florentine Eccentrics’,” in Italian Renaissance Masters, exh. cat., Milwaukee, Haggerty Museum of Art at Marquette University (2001), pp. 22-43.

*35). “Three Altarpieces by Pier Franceso Foschi: Patronage, Context and Function (with Notes on Some Assistants in the Workshop of Botticelli),” Gazette des Beaux-Arts, CXXXVII (2001), pp. 17-36.

*34). “New Documents for Memling’s Portinari Portraits in the Metropolitan Museum of Art,” Apollo, CLIII (February 2001), pp. 28-33.

*33). “Two Late Altarpieces by Bachiacca,” Apollo, CLIV, no. 474 (August 2001), pp. 30-35 (with David Franklin).

*32). “Bertoldo di Giovanni di Bertoldo (Again),” The Burlington Magazine, CXLIII (2001), p. 758.

*31). “Fact, Fiction, Hearsay: Notes on Vasari’s Life of Piero di Cosimo,” The Art Bulletin, LXXXII, no. 1 (2000), pp. 171-179.

*30). “The Origins and Family of Rosso Fiorentino,” The Burlington Magazine, CXLII, No. 1171 (October 2000), pp. 607-612.

*29). “The Mary Magdalen in Santa Trinita by Desiderio da Settignano and Giovanni d’Andrea,” Pantheon, LVIII (2000), pp. 13-18.

*28). “‘The Modern Lysippus’: A Roman Quattrocento Medalist in Context,” in Perspectives on the Renaissance Medal, 1450-1650, ed. Stephen K. Scher (New York: Garland Publishing, 2000), pp. 97-113. Louis A. Waldman, p. 8

*27). “A Late Work by Andrea della Robbia Rediscovered: The Jews’ Tabernacle at Empoli,” Apollo, CL (September 1999), pp. 13-20.

*26). “The Painter as Sculptor: A New Relief by Andrea di Salvi Barili,” Mitteilungen des Kunsthistorischen Institutes in Florenz, XLIII (1999), pp. 200-207.

*25). “Puligo and Jacopo di Filippo Fornaciaio: Two Unrecorded Paintings of 1524,” Source, XVIII (1999), pp. 25-27.

*24). “New Evidence for Rosso Fiorentino in Piombino,” Paragone, L, No. 587 (1999), pp. 105-112, pls. 51-52 (with David Franklin).

*23). “A Case of Mistaken Identity: The Martellini Jupiter by Giovanni di Scherano Fancelli,” The Burlington Magazine, CXL (1998), pp. 788-798.

22). “Un nome per il ‘Maestro dei Paesaggi Kress’: Giovanni Larciani e la pala d’altare di Fucecchio,” Erba d’Arno, LXXIV (1998), pp. 22-47.

*21). “The ‘Master of the Kress Landscapes’ Unmasked: Giovanni Larciani and the Fucecchio Altar- piece,” The Burlington Magazine, CXL (1998), pp. 456-469.

*20). “Nanni di Baccio Bigio at Santo Spirito,” Mitteilungen des Kunsthistorischen Institutes in Florenz, LXII (1998), pp. 198-204.

19). “Dal Medioevo alla Controriforma: I Cori di Santa Maria del Fiore,” in Sotto il cielo della Cupola: Il Coro di Santa Maria del Fiore, exh. cat., Florence, Palazzo Vecchio (1997), pp. 37-68.

*18). “Bronzino’s Uffizi ‘Pietà’ and the Cambi Chapel in S. Trinita, Florence,” The Burlington Magazine, CXXXIX, No. 1127 (February 1997), pp. 94-102.

*17). “The Date of Rustici’s ‘Madonna’ Relief for the Florentine Silk Guild,” The Burlington Magazine, CXXXIX (1997), pp. 869-872.

*16). “A Document for Andrea del Sarto’s ‘Panciatichi Assumption,’” The Burlington Magazine, CXXXIX (1997), pp. 469-470.

*15). “Florence Cathedral in the Early Trecento: The Provisional High Altar and Choir of the Canonica,” Mitteilungen des Kunsthistorischen Institutes in Florenz, XL (1996), pp. 267-286.

*14). “Florence Cathedral: The Façade Competition of 1476,” Source, XVI (1996), pp. 1-6.

*13). “The Earliest Known Medalists: The Sesto Brothers of Venice,” American Journal of Numismatics, 2nd series, V-VI (1995), pp. 167-88, pls. 19-21 (with Alan M. Stahl).

*12). “The Cloisters-L’Aquila Pulpit: An Unknown Signature,” Gesta, XXXIII (1995), pp. 60-64.

Louis A. Waldman, p. 9

*11). “‘Miracol’ novo et raro’: Two Unpublished Contemporary Satires on Bandinelli’s Hercules and Cacus,” Mitteilungen des Kunsthistorischen Institutes in Florenz, XXXVIII (1994), pp. 419-427.

*10). “The Genesis of Pompeo Leoni’s Patience,” in Designs on Posterity: Drawings for Medals, ed. Mark Jones, London: British Art Medal Trust (1994), pp. 52-63.

*9). “Domenico Campagnola’s Premonition of Meliboeus,” Journal of the Warburg and Courtauld Institutes, LV (1993), pp. 270-272, pls. 49-50.

*8). “An Anagrammatic Attribute: Christian Schad’s Portrait of Eva von Arnheim,” The Burlington Magazine, CXXXV (1993), pp. 276-277.

*7). “Schongauer and ‘Living Water,’” Print Quarterly, X (1993), pp. 54-55.

*6). “A Satiric Image on a Maiolica Pharmacy Jar,” The Burlington Magazine, CXXIV (1992), pp. 375-378.

*5). “A Medal of Paul II after a Design by Fouquet,” The Medal, XXI (1992), pp. 3-15.

*4). “A Livian Plaquette by Master IO.F.F.,” The Medal, XXI (1992), pp. 16-19.

*3). “A Rare Sixteenth-Century Jugate Medal of the Hapsburgs,” The Medal, XIX (1991), pp. 3-19.

*2). “Varrone d’Agniolo Belferdino’s Commemorative Medal of an Unknown Lady,” American Journal of Numismatics, 2nd series, III-IV (1991), pp. 105-116, pls. 10-12.

*1). “Spenser’s Pseudonym ‘E. K.’ and Humanist Self-Naming,” Spenser Studies, IX (1988), pp. 11-21.

D. Entries in Museum and Exhibition Catalogues

63-64). Two entries on Ambrogio de Predis and Alexander Formoser in Mattia Corvino e Firenze. Arte e umanesimo alla corte del Re dell’Ungheria, ed. Péter Farbaky, Dániel Pócs, Magnolia Scudieri, Lia Brunori, exh. cat., Florence, Museo di San Marco, 2013, pp. 92-93, 318-319.

63). Entry on Giovanni Larciani in Giovan Francesco Rustici, exh. cat., Florence, Museo Nazionale del Bargello, 2010.

62). Entry on the tondo by Giorgio Vasari in Szeged identified by the author, in the catalogue of the exhibition Botticelli to Titian: Two Centuries of Italian Masterpieces, Budapest, Szépmüvészeti Múzeum (2009), pp. 400-403, cat. 126.

57-61). Five entries on Daniele da Volterra, Dosio, Naldini, Herman Posthumus, and Vincenzo de’ Rossi, in the catalogue of the exhibition From Raphael to Annibale Carracci: The Art of Papal Rome, Ottawa, National Gallery of Canada (2009), pp. 184-186, 194-197, 226-229, 162-263, 290-291, 456, 458, 460, 463.

Louis A. Waldman, p. 10

53-56). Four entries on Benedetto Bonfigli and Cristofano dell’Altissimo in Matthias Corvinus, the King: Tradition and Renewal in the Hungarian Royal Court, 1458-1490, ed. Péter Fárbaky, exh. cat., Budapesti Törteneti Múzeum (2008), pp. 209-210, 226-227.

52). Entry on Alexander Formoser (the Master of Santa Lucia sul Prato) in The Splendour of the Medici – Art and Life in the Renaissance Florence, ed. Anna Maria Giusti and Monica Bietti, exh. cat., Budapest, Szépmüvészeti Múzeum (2008), pp. 164-165.

32-51). Twenty entries and biographies on Camelio, Candida, Francia, Master I.O.F.F., Mea, Della Torre, Andrea da Viterbo and anonymous medallists in European Medals in the Chazen Museum of Art: Highlights from the Vernon Hall Collection and Later Acquisitions, ed. Maria Saffiotti Dale, 2014, pp. 51-53, 72- 76, 82-100, 103-104, 109-110.

29-31). Three entries on Giovanni Larciani in La valle dei tesori. Capolavori allo specchio, ed. Rosanna Caterina Proto Pisani, exh. cat., Fucecchio, Museo Civico, 2006, unpaginated.

28). Entry on a sculpture by Giovanni Bandini (newly attributed by L.A.W.) in Medieval, Renaissance, and Baroque Sculpture, exh. cat., New York, Salander-O’Reilly Galleries, 2005, no. 28.

8-27). Twenty entries on Agostino Veneziano, Bandinelli, Bronzino, Della Casa, Franciabigio, Pierino da Vinci, Raimondi, Rustici, Jacopo Sansovino, and Tribolo, in Leonardo da Vinci, Michelangelo, and the Renaissance in Florence, exh. cat., Ottawa, National Gallery of Canada, 2005, pp. 68-69, 80-81, 150-155, 160-161, 226-227, 254-271, 274-275, 278-279, 288-291, 335, 336, 341-342, 348, 351-354.

6-7). Two entries on Pierino da Vinci in: L’ombra del genio. Michelangelo e l’arte a Firenze, 1537-1631, Florence, Palazzo Strozzi, ed. Marco Chiarini, Alan P. Darr, Cristina Giannini (2002), pp. 231-233.

Also published in English in: The Medici, Michelangelo and the Art of Late Renaissance Florence, exh. cat., Art Institute of Chicago; Detroit Institute of Arts (published by Yale University Press).

2-5). Four entries on Giovanni Candida and anonymous medals of the Valois in: The Currency of Fame: Portrait Medals of the Renaissance, exh. cat., Washington, National Gallery and New York, Frick Collection (1994), pp. 121-122, 307-309, 347-348, 381, 395-396, 398.

1). Entry on Tintoretto’s Pool of Bethesda in A Connoisseur’s Quest: Integrating New Discoveries into the Annals of Art History, exh. cat., Annandale-on-Hudson, Edith C. Blum Art Institute at Bard College, 1990, pp. 8- 11, no. 8.

E. Exhibition Reviews

2). “Leonardo da Vinci: Florence, London, Oxford, and Munich” (Review of the Universal Leonardo exhibitions sponsored by the Council of Europe), The Burlington Magazine, CXLIX, No. 1249 (2007), pp. 283-286.

1). “Florence after Michelangelo” (Review of the exhibitions L’ombra del genio. Michelangelo e l’arte a Firenze, 1537-1631, Florence, Palazzo Strozzi and Venere e Amore, Florence, Accademia), The Burlington Magazine, CXLIV, No. 1194 (2002), pp. 574-578. Louis A. Waldman, p. 11

F. Book Reviews

6). “Il Michelangelo che mancava” (review of Cristina Acidini Luchinat, Michelangelo scultore [Milan: Federico Motta, 2006]), in Il Giornale dell’arte, XXV, No. 263 (March 2007), p. 50.

5). Michel Jeanneret, Perpetual Motion: Transforming Shapes in the Renaissance from da Vinci to Montaigne, trans. Nidra Poller (Baltimore and London, 2001), in Word and Image, XXII, no. 1 (January-March 2006), pp. 98-100.

4). John Shearman, Raphael in Early Modern Sources (1483-1602) (New Haven and London, 2003), in: CAA Reviews Online (http://kola.forest.net/collegeart/action.lasso?-database=reviews.fp5&- layout=searchweb&-response=detail.lasso&-logicalOp=or&-recordID=33979&-search).

3). Evelyn Lincoln, The Invention of the Renaissance Printmaker (New Haven and London, 2000), in: Word and Image, XX, no. 4 (October-December 2004), pp. 323-324.

2). Gregorio Comanini, The Figino, or On the Purpose of Painting: Art Theory in the Late Renaissance, trans., with introduction and notes, by Ann Doyle-Anderson and Giancarlo Maiorino (Toronto, 2001), in: Renaissance Quarterly, LVI (2002), pp. 773-774.

1). Kerstin Schwedes, Historia in statua. Zur Eloquenz plastischer Bildwerke Michelangelos im Umfeld des Christus von Santa Maria sopra Minerva zu Rom, (Frankfurt am Main, 1998), in Sixteenth-Century Studies, XXXI (2000), pp. 586-588.

CURATORIAL ACTIVITIES

Member of the Scientific Committee of the exhibition Bronzino, Florence, Palazzo Strozzi, 2010.

Co-curator of the exhibition Raphael to the Carracci: The Art of Papal Rome, Ottawa, National Gallery of Canada, 2009, exhibition jointly curated and catalogue jointly edited with Rhoda Eitel-Porter, David Franklin, and Sebastian Schuetze.

Member of the Scientific Committee of the Casa del Pontormo museum, Empoli (2007-)

Co-organizer of the exhibition Leonardo da Vinci, Michelangelo, and the Renaissance in Florence (with David Franklin and Andrew Butterfield), Ottawa, National Gallery of Canada (May 29-September 5, 2005).

OTHER PROFESSIONAL ACTIVITIES (SELECTED)

Co-organizer (with Joseph Connors) of the symposium Bernard Berenson at Fifty, Villa I Tatti, Florence, October 2009.

Co-organizer (with Joseph Connors and Cinzia Maria Sicca) of the symposium Henrici-Medici: Artistic Links between the Early Tudor Courts and Medicean Florence, Villa I Tatti, Florence, October 2007.

Louis A. Waldman, p. 12

Co-organizer (with Joseph Connors, Péter Farbaky, and Ildikó Feher) of the symposium Italy and Hungary: Humanism and Art in the Early Renaissance, Villa I Tatti, Florence, June 2007.

Associate Editor of the journal I Tatti Studies, 2007-2010.

KEYNOTE/PLENARY LECTURES “Matthias and His Legacy: Florentine Artists in the Service of the Hungarian Court,” keynote lecture in the conference “Mathias Rex 1458-1490 – Hungary at the Dawn of the Renaissance,” held by the Faculty of Humanities, Eötvös Loránd University, Budapest, May 20 2008.

“Out of Hiding: Renaissance Paintings from Smaller Public and Private Collections,” keynote lecture for opening of the exhibition Italian Renaissance Masters, Haggerty Museum of Art, Marquette University, Milwaukee, January 25, 2001.

OTHER INVITED LECTURES AND TALKS (SELECTED)

“The Medici and Renaissance Architecture,” lecture at the Houston Museum of Natural Science, 26 February 2012.

“Giorgio Vasari’s Szeged Annunciation: A Rediscovered Painting from the Vatican Chapels of Pope Pius V,” public lecture in the cathedral square of Szeged, Hungary, 21 May 2011.

“Italian Artists and Renaissance Hungary,” paper delivered to the international Scientific Meeting Honoring the 500th Anniversary of Giorgio Vasari” at the Mora Ferenc Muzeum, Szeged, Hungary, 23 May 2011.

“The ‘Patronage Portrait’: Dynasty and Astronomy in a Painting Incorrectly Attributed to Francesco Salviati”, Art History research roundtable, University of Texas Department of Art and Art History, 23 February 2011.

“Agnolo Bronzino and the Death of Pontormo: A Disputed Legacy,” British Institute, Florence, 24 February 2010; Metropolitan Museum of Art, New York, 28 March 2010.

“Leonardo ed i suoi due ‘padri’: L’artista attraverso la lente delle sue opere perdute,” XLIX. Lettura Vinciana, Biblioteca Leonardiana, Vinci, April 18, 2009.

“Who Cares About the Italian Renaissance Any More?” invited lecture at the Blanton Museum of Art, Austin, October 28, 2006 and at Texas Christian University, Fort Worth, April 25, 2007.

“Un pittore del rinascimento riscoperto e il sul capolavoro a Fucecchio: Bartolomeo Ghetti e la Pala della Collegiata,” invited lecture at the Museo Civico, Fucecchio, April 1, 2006.

“Praise and Blame: The Rhetoric of Bandinelli’s Portrait Reliefs,” invited lecture at Syracuse University in Florence, February 15, 2006.

Two technical presentations, on “Tecniche secche” and “Tecniche liquide e miste” in the doctoral seminar “‘Vo esere uno buono disegnatore...’: Opzioni tecniche e ragioni dello stile nei disegni italiani e Louis A. Waldman, p. 13 stranieri fra Trecento e Settecento,” organized by the Gabinetto Disegni e Stampe of the Uffizi and the Kunsthistorisches Institut in Florenz, November 14-17, 2005.

“Textual Identities,” invited lecture at Rutgers University, April 15, 2005.

“The Eye of Russell Lee,” Undergraduate Art History Association “Last Lecture” series, University of Texas at Austin, April 24, 2003.

“Performance and Decorum in Italian Renaissance Religious Painting,” lecture at Indiana University, Bloomington, March 27, 2002.

“Here’s Looking at You: Theatricality and Visual Communication in Renaissance Religious Painting,” lecture at Truman State University, December 3, 2001.

“A Florentine Renaissance Master at Bucknell: Giovanni Larciani and the ‘Florentine Eccentrics,” lecture at the Samek Art Gallery, Bucknell University, Lewisburg, Pennsylvania, November 17, 2001.

“An Unwritten Chapter in Renaissance Painting: The ‘Florentine Eccentrics,’” Undergraduate Art History Association “Last Lecture” series, University of Texas at Austin, October 25, 2000.

“The Bandinelli Fakes: Forgery and the Construction of Artistic Identity in Early Modern Italy,” Faculty Lecture Series, University of Texas at Austin, February 17, 2000.

“Re-writing the Past: Documentary Forgeries from the Archivio Bandinelli.” Lecture at the Kunsthistorisches Institut, Florence, June 23, 1998. Italian version given at the Fondazione Piero della Francesca, Sansepolcro, November 27, 1998.

“Un nome per il Maestro dei Paesaggi Kress: Dall’ipotesi al documento, storia di una scoperta.” Lecture at San Salvatore, Fucecchio, February 14, 1998. Expanded English version given at Johns Hopkins University, Villa Spelman, Florence, May 25, 1998.

SELECTED HONORS AND AWARDS

A. SCHOLARLY AND PROFESSIONAL RECOGNITION

2008 Honored with the creation of a Louis Waldman Endowed Program Fund for Study Abroad at the University of Texas at Austin.

2004 Elected an Accademico d’Onore of the Accademia delle Arti del Disegno, Florence.

B. TEACHING AWARDS AT UNIVERSITY OF TEXAS

2013 Services for Students with Disabilities Appreciation Award (“Clock Award”) (Sp)

2008 Texas Blazers Faculty Excellence Award.

Louis A. Waldman, p. 14

2005 Department of Art and Art History Teaching Excellence Award.

2004 Dads’ Association Centennial Teaching Fellowship.

2003 College of Fine Arts Teaching Excellence Award.

C. SELECTED ARTICLES ABOUT

2009 Sara Bessi, “L’ipotesi dello studioso americano Louis Waldman: ‘Non è Leonardo, è il ritratto dello zio,’” La Nazione, April 18, 2009.

“Leonardo da Vinci è cresciuto con due ‘padri’” http://lanazione.ilsole24ore.com/firenze/2009/04/17/165759-leonardo_vinci_cresciuto_padri.shtml

“Leonardo non è Leonardo. Il celebre dipinto? Forse lo zio” http://corrierefiorentino.corriere.it/firenze/notizie/arte_e_cultura/2009/16-aprile-2009/leonardo-non- leonardo-celebre-dipinto-forse-zio-1501193390577.shtml

“Lettura Vinciana, un misterioso inventario svela il segreto di un ‘autoritratto del Genio. Grande attesa per la relazione del professor Waldman che apre le Celebrazioni Leonardiane” http://www.gonews.it/articolo_32577_Lettura-Vinciana-misterioso-inventario-svela-segreto- autoritratto-Genio.html

2006 Cristina Acidini Luchinat, “Presentazione,” in La valle dei tesori, exh. cat., Fucecchio, Museo Civico, 2006, unpaginated.

D. RESEARCH GRANTS AND FELLOWSHIPS

2005-2006 Rush H. Kress Fellow, Villa I Tatti, The Harvard Center for Italian Renaissance Studies.

Fall 2004 Dean’s Fellowship and Walter & Gina Ducloux Fine Arts Fellowship.

Summer 2004 UT College of Fine Arts Summer Research Grant.

Summer 2003 UT College of Fine Arts/Center for Advanced Studies in Art Competitive Summer Fellowship.

2002 University Cooperative Society Subvention Grant for the book Baccio Bandinelli and Art at the Medici Court.

Summer 2001 UT Austin Summer Research Assignment Grant.

Louis A. Waldman, p. 15

1999-2000 Fulbright Postdoctoral Research Fellowship.

1998 Samuel H. Kress Foundation Research Grant.

1997-98 Dean’s Dissertation Fellowship, New York University.

1997-98 Charlotte W. Newcombe Doctoral Dissertation Fellowship.

1995-97 Samuel H. Kress Foundation Fellowship to Kunsthistorisches Institut, Florence.

Summer 1994 Samuel H. Kress Foundation Travel Grant.

Summer 1993 Rev. Herbert Musurillo, S.J. Scholarship, Brooklyn College Latin Institute.

Summer 1993 Eleanor H. Pearson Travel Fellowship, New York University.

Summer 1992 Shelby and Leon Levy Fellowship, New York University.

1991-97 Institute of Fine Arts Fellowships, New York University.

Summer 1990 American Numismatic Society Summer Seminar Fellowship.

1990-94 Jacob K. Javits Fellowship.