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Paola D'agostino Curriculum Vitæ

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Paola D’Agostino Curriculum Vitæ ___________________________________________________________________________ Special Interests: • Italian Baroque Sculpture • Artistic relationships between Italy and Spain • Baroque metalwork Education • Università degli Studi di Napoli ‘Federico II’, Naples, Ph.D. in Art History, 2003. • University College London, M. Phil. program in Art History, 1998-1999. • Courtauld Institute of Art, London, M.A. in Art History, 1998. • Università di Studi di Napoli ‘Federico II’, Naples, B.A. Art History and Literature with High Honors, 1996. Museum experience • Senior Research Associate, European Sculpture and Decorative Arts Department, The Metropolitan Museum of Art, New York, 2009-2013. • Co-organizer of the exhibition Bernini: Sculpting in Clay, The Metropolitan Museum of Art, New York, October 3, 2012-January, 6 2013; Kimbell Art Museum, Fort Worth, February 3- April 14, 2013. • Research Assistant to Bruce Boucher and Peta Motture for the exhibition Earth and Fire: Italian Terracotta Sculpture from Donatello to Canova, The Museum of Fine Arts, Houston – Victoria & Albert Museum, London 1999-2001. Academic Positions • Università degli Studi di Napoli Federico II, Facoltà di Lettere e Filosofia One year position as Lecturer in Early Modern History of Art, 2008-2009. • Seconda Università degli Studi, Napoli, Facoltà di Lettere One year position as Lecturer in Early Modern History of Art, 2008-2009. • Seconda Università degli Studi, Napoli, Facoltà di Lettere One year position as Lecturer in Early Modern History of Art, 2007-2008. • Society of Architectural Historians, Chicago Lecturer in Seventeenth and Eighteenth-century Art and Architecture (seminar took place in Naples, Italy), May 13-23, 2008. • Seconda Università degli Studi di Napoli, Facoltà di Lettere Scuola Interuniversitaria Campana: Specializzazione all’Insegnamento (SICSI) One-year post as Professor in Italian Renaissance and Baroque Art. • Università degli Studi Suor Orsola Benincasa, Naples Part time Lecturer in Italian Renaissance and Baroque Art, 2004-2006. • Università degli Studi di Napoli ‘Federico II’, Facoltà di Lettere e Filosofia Department Research Associate, 2003. 1 Academic Honors and Fellowships: • Cynthia Hazen Polsky/Metropolitan Museum of Art, Visiting Curator at the American Academy in Rome, April 8-May 6, 2013. • The Metropolitan Museum of Art, two-weeks Professional Stipend, July 5-20, 2011. • The Metropolitan Museum of Art, Sylvain C. Coleman and Pamela Coleman Memorial Fund Fellowship, 2006-2007. • Università degli Studi di Napoli ‘Federico II’, Postdoctoral fellowship, 2004-2006. • The Burlington Magazine, Travel Scholarship in association with the Francis Haskell Memorial Fund, 2004. • Università degli Studi di Napoli ‘Federico II’, Pre-doctoral Fellowship to study in Spain, 2001. • Università degli Studi di Napoli ‘Federico II’, Research Fellowship for the PhD program, 1999- 2002. • European Union, Travel grant to complete an MA program at the Courtauld Institute of Art, London, 1998. Publications: • “The Second Prince of Sansevero’s Tomb: Addenda to a Seventeenth century Neapolitan Drawing at the Cooper Hewitt, National Design Museum, New York”, in West 86th. The Journal of the Bard Graduate Center, 2013, V. 20, No. 2, pp.226-32. • “Cosimo Fanzago (1591-1678). Autoritratto. Ritratto di Carlo II, Avellino - Piazza Della Dogana”, in A. Cucciniello, Capolavori della Terra di Mezzo. Opere d’Arte dal Medioevo al Barocco. Naples, Arte'm, 2012, 214-15. • Cosimo Fanzago Scultore, Naples, Paparo Edizioni, 2011. • “Neapolitan Metalwork in New York: Viceregal Patronage and the Theme of the Virgin of the Immaculate Conception”, in The Journal of the Metropolitan Museum of Art, vol. 43, 2008, 117-30. • “Introduzione e aggiornamento alla Vita di Giuliano Finelli da Carrara, Francesco Mollica scultori, e Giovanni Domenico Vinacci scultore e gettatore di metalli, in Bernardo De Dominici, Vite de’ pittori, scultori e architetti napoletani’ (Naples 1742-1745), F. Sricchia Santoro, A. Zezza (eds.), Naples, Paparo Edizioni 2008, vol. 1, 296-315. • “Introduzione e aggiornamento alla Vita del Cavalier Cosimo Fanzago pittore e architetto e bergamasco, di Carlo suo figliolo, di Andrea Falcone e altri suoi discepoli”, in Bernardo De Dominici, Vite de’ pittori, scultori e architetti napoletani (Naples 1742-1745), F. Sricchia Santoro, A. Zezza (eds.), Naples, Paparo Edizioni 2008, vol. 1, 331-61. • “Introduzione e aggiornamento alle Notizie di Pietro Ceraso, Agostino Ferraro, Aniello e Michele Perrone, Domenico di Nardo e de’ loro discepoli scultori, in Bernardo De Dominici, Vite de’ pittori, scultori e architetti napoletani (Naples 1742-1745), F. Sricchia Santoro, A. Zezza (eds.), Naples, Paparo Edizioni 2008, vol. 1, 726-35. • “Introduzione e aggiornamento alla Vita di Lorenzo Vaccaro pittore, scultore ed architetto e di Domenico Antonio Vaccaro pittore, scultore ed architetto, e di Ludovico suo figliolo e de’ loro discepoli in Bernardo De Dominici, Vite de’ pittori, scultori e architetti napoletani (Naples 1742-1745), F. Sricchia Santoro, A. Zezza (eds.), Naples, Paparo Edizioni 2008, vol. 2, 884-933. • “Per Ercole Ferrata a Napoli: lavori d’intaglio sopra cherubini e putti”, in La scultura meridionale in età moderna nei suoi rapporti con la circolazione mediterranea. Atti del convegno internazionale di studi, F. Abbate, L. Gaeta (eds.), Galatina, Congedo, 2007, 172- 81. • “Uno scultore barocco autonomo? Cosimo Fanzago tra il 1630 e il 1656”, in Paragone Arte, 71, 2007, 43-60. • “Baccio Bandinelli, Busto ritratto di Cosimo I; Giambologna, Busto ritratto di Cosimo I”, in Tiziano e il ritratto di corte da Raffaello ai Carracci, Napoli, Museo di Capodimonte, Naples, Electa Napoli, 2006, 184-85; 200-01. • “Un bronzetto spagnolo di Cosimo Fanzago a New York” in Prospettiva, 109, 2003, 83-88. 2 • “Bernini, Pietro” in Encyclopaedia of Sculpture, A. Boström (ed.), New York-London, Taylor and Francis Group, 2003, vol. 1, 160-62. • Catalogue entries in Earth and Fire: Italian Terracotta Sculpture from Donatello to Canova, exh. cat., The Museum of Fine Arts Houston - Victoria and Albert Museum, London, New Haven-London, Yale, 2001. • Review of Algardi: l’altra faccia del Barocco, J. Montagu (ed.), exh. cat., Palazzo delle Esposizioni Rome, 21 January-30 April 1999, in Object II (1999-2000). • “Fonti Pittoriche della Scultura di Pietro Bernini” in Dialoghi di Storia dell’Arte VIII/IX (1999), 120-25. • “Pietro Bernini tra Manierismo e Barocco: considerazioni su uno scultore di transizione”, in Rendiconti dell’Accademia di Lettere, Archeologia e Belle Arti, LXVII (1997-1998), 147- 71. • “Postilla a Un contributo al catalogo di Pietro Bernini” in Dialoghi di Storia dell’Arte, III (1996), 172. • “Un contributo al catalogo di Pietro Bernini”, in Dialoghi di Storia dell’Arte, II (1996), 108- 11. Forthcoming: • “Uno stile nuovo: Some Little known Models by Lorenzo and Domenico Antonio Vaccaro”, in The Ethernal Baroque. Studies in Honour of Jennifer Montagu, Allemandi, June 2014. • “Le ‘Virtù’ di Cosimo Fanzago: tre bronzetti ritrovati”, (article in progress) • “Seventeenth and eighteenth-century bronze sculpture” in Catalogue of the collection of Italian bronze sculpture in the Metropolitan Museum of Art, New York 2015 (ca.45 entries in progress, provisional title). • “A ceramics jigsaw: design and manufacture for Palazzo Borghese in Rome” (article in progress) • “Two terracotta statuettes by Giuseppe Picano in the Collection of the Metropolitan Museum of Art” (article in progress). • “Addenda to the sculptural patronage of Don Manuel Zuñiga, count of Monterrey” (article in progress) • Marble trading in the Mediterranean basin (book project). Conference Papers: • ‘Uno stile nuovo: Some Little known models by Lorenzo and Domenico Antonio Vaccaro’, in The Ethernal Baroque. Studies in Honour of Jennifer Montagu, London, The Wallace Collection, September 6-7, 2013. • “The Practice of Design in Baroque Naples” CAA, 101st Annual Conference, New York, February 13-16, 2013. Italian Art Society Session, Disegno, February 15, 2012. • “Carmelite altarpieces by Cosimo Fanzago: Spanish patronage and Neapolitan devotion” Three International Workshops at the Universities of York and Cambridge, United Kingdom. Workshop 2, University of York, “Topography and Piety: Naples Afflicted”, April 3, 2009. • “Cosimo Fanzago and Neapolitan Baroque Metal sculpture at the Metropolitan Museum of Art”, 2007 Fellows’ Colloquia series, The Metropolitan Museum of Art, April 3, 2007. • “Neapolitan Baroque sculpture” University of Reading, Department of History of Art and Architecture. Graduate Research Seminar series, March 14, 2007. 3 • “The Metropolitan Museum of Art Fellowship program” CAA, 95th Annual Conference, New York, February 14-17, 2007. ARIAH session, “Celebrating time to think: research dreams realized”, February 15, 2007. • “Uno scultore barocco autonomo? Cosimo Fanzago tra il 1630 e il 1656” Napoli e Roma nel Seicento: relazioni sociali e artistiche, Seconda Università di Napoli, Facoltà di Lettere, conference organized by E. Fumagalli, October 6, 2005. • “Per Ercole Ferrata a Napoli: lavori d’intaglio sopra cherubini e putti” La scultura meridionale in età moderna nei suoi rapporti con la circolazione mediterranea, Università degli Studi di Lecce, Facoltà di Lettere, International conference organized by F. Abbate and L. Gaeta, Lecce, June 9-11, 2004. • “Artful Sculpture and Polychrome Marble in Seicento Naples” UCL, Department of History of Art, Graduate Students
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  • Baroque Sculpture in Rome Alessandro Angelini on the Whole

    Baroque Sculpture in Rome Alessandro Angelini on the Whole

    5 Continents Editions srl Piazza Caiazzo, 1 20124 Milan T. +39 02 33603276 [email protected] BAROQUE SCULPTURE IN ROME Alessandro Angelini On the whole, when one thinks of seventeenth-century sculpture in Rome, one has in mind the wonderful and famous works of Gian Lorenzo Bernini, such as the Fountain of the Rivers or The Ecstasy of St. Theresa. The very idea of Roman baroque is commonly identified with the century’s great genius. And indeed, the influence of Bernini’s work on the sculpture and art in general of the period was, especially in Rome, decisive. However, this domination spread only during the second half of the seventeenth century, and less unequivocally than one might sup- pose. Other great sculptors, with personalities that were often very different form Bernini’s, contributed to making the extraordinary proliferation of Roman statuary extremely complex and varied at that time. This book is aimed especially at students and museum visitors who would like to learn more about the topic and discusses the art in a straightforward and strictly chronological fashion. The narrative begins in the early decades of the seventeenth century with sculpture created by a motley and conspicuously cosmopolitan group of artists. Later, with the growing success of the great masters, commissions began to gravitate around Bernini, Alessandro Algardi, and François Duquesnoy. A new approach to Antiquity went hand in hand with a marked predilec- 17 x 24 cm, 172 pp. tion for striking chromatic effects, borrowed from Venetian painting, and a desire to make a 63 colour and 12 b/w illustrations strong impact and achieve a particular tone, often with results of surprising originality.