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Louis A. Waldman, Ph.D. Department of Art and Art History the University 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.
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