Courses a.y. 2020/2021
30396 CRITICAL APPROACHES TO THE ARTS II - MODULE II (ART AND POLITICS)
30478 METODO, CRITICA E RICERCA NELLE DISCIPLINE ARTISTICHE II - MODULO II (ARTE RINASCIMENTALE) [CRITICAL APPROACHES TO THE ARTS II - MODULE II (RENAISSANCE ART)]
Stefania is Assistant Professor in the History of Art at Bocconi. Her main research and teaching expertise lies in the areas of Medieval and Byzantine art.
Stefania holds a degree in cultural management from Bocconi, and an MA and PhD from The Courtauld Institute of Art in London.
Prior to joining the faculty at Bocconi, Stefania held the positions of Research Fellow at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut; Lecturer in the History of Byzantine Art at the Courtauld Institute of Art; and Assistant Director at The British School at Rome.
Stefania's scholarship has received recognition from a number of institutions, including Dumbarton Oaks Research Library and Collection; The Leibniz WissenschaftsCampus, Mainz/Frankfurt; and the Institut national d’histoire de l’art (INHA), Paris.
Stefania’s current work focuses on the following areas:
- The nexus between arts and politics in the medieval Mediterranean, with specific focus on artistic interactions, political conflict, and public memory. Her current monograph project explores these issues through the interpretative lens of crisis, and in relation to the visual arts of Venice in the fourteenth century.
- Conceptualizations and artistic applications of light and transparency, with a particular focus on the use and meaning of rock crystal in the religious and secular cultures of medieval Europe.
- Materiality, liminality and presence in medieval and Byzantine art.
“Art as Politics in the Baptistery and Chapel of Sant’Isidoro at San Marco, Venice”, Dumbarton Oaks Papers, Vol. 74 (2020), pp. 243-268.
"The Bern Diptych: Venetian rock crystal between craft, trade and aesthetics", in Seeking Transparency. Rock Crystals Across the Medieval Mediterranean, edited by Cynthia Hahn and Avinoam Shalem, Gebr. Mann Verlag (2020), pp. 183-195.
"Rock crystal in the medieval west: an essay on techniques and workshops", in Seeking Transparency. Rock Crystals Across the Medieval Mediterranean, edited by Cynthia Hahn and Avinoam Shalem, Gebr. Mann Verlag (2020), pp. 89-100.
“Inscribing history, (over)writing politics: word and image in the chapel of St Isidore at San Marco, Venice”, in Sacred Scripture / Sacred Space. The Interlacing of Real Places and Conceptual Spaces in Medieval Art and Architecture, edited by Tobias Frese, Wilfried E. Keil, Kristina Krüger, De Gruyter (2019), pp. 323–349.
“Invisible, in full view: the Byzantine reliquaries of Santa Maria della Scala, Siena”, in Visibilité et présence de l’image dans l’espace ecclésial. Byzance et Moyen Age occidental, edited by Sulamith Brodbeck and Anne-Orange Poilpré, Editions de la Sorbonne (2019), pp. 195–229.
“Written in stone: civic memory and monumental writing in the cathedral of San Lorenzo in Genoa”, in Viewing Texts: The visual powers of inscriptions in the Mediterranean and Iranian Worlds, ed. Antony Eastmond, Cambridge University Press (2015), pp. 205–229.
“Sicut crystallus quando set objecta soli: rock crystal crosses, transparency and the Franciscan order in the later middle ages”, Mitteilungen des Kunsthistorischen Institutes in Florenz, Vol. 56/3 (2014), pp. 255–283.
“Christus Crystallus: rock crystal, theology and materiality in the medieval west”, in the Matter of Faith. An interdisciplinary study of relics and reliquaries, eds James Robinson and Lloyd De Beer with Hannah Harnden, British Museum Press (2014), pp. 92–99.
“The Grotto of the Virgin: artistic reuse and cultural identity in medieval Venice”, Gesta, University of Chicago Press, Vol. 53/2 (2014), pp. 197–220.