Claudia Daniotti is an art historian and researcher specializing in Italian Renaissance art, with an emphasis on iconography, the classical tradition and the transmission of visual motifs from antiquity to the present times. She holds a PhD from The Warburg Institute, University London, and a BA (Hons) and MA in History of Art from the Ca’ Foscari University, Venice. Her first monograph on the reception of the myth of Alexander the Great in Renaissance Italian art, based on her doctoral dissertation, will be published in 2020.
Since 2004, Claudia has been lecturing both in academia and museums, teaching across a range of areas and periods in Italian art history spanning from the fourteenth to the mid-twentieth century. She was a Visiting and Associated Lecturer in Renaissance and Baroque to Neoclassical Art at Buckingham and Bath Spa Universities (2016–2019), a Teaching Assistant at the Warburg Institute (2014), and worked for three years at the Estorick Collection of Modern Italian Art as an Education and Exhibition Assistant (2008–2011). She is also an experienced tour guide, having led bespoke guided tours to museum permanent collections and temporary exhibitions for years, both in Italy and the UK. Claudia has published extensively in the fields of the classical tradition and fourteenth- to eighteenth-century art history, contributing essays, articles and catalogue entries to a number of edited volumes, journals, exhibition catalogues and conference proceedings. She is a founding member of the association and on-line journal Engramma. La tradizione classica nella memoria occidentale, on whose editorial board she sat until 2015.
During her fellowship at CIMA, Claudia will investigate Marino Marini’s sculpture in light of its appropriation and reinterpretation of models from antiquity, particularly from ancient Etruria and Egypt. Her research project aims to reassess Marini’s work within the context of the wider reception of those civilizations in late nineteenth- and early twentieth-century Italy, and in relation to the coeval changing perception of the ancient past and the Fascist redefinition of a new national identity.
Michele Amedei received his Ph.D from the University of Florence, Pisa and Siena. Michele has always been interested in studying the lively exchanges between American and Italian artists. His research concerns, on the one hand, the presence of U.S painters and sculptors in Florence in the first half of the nineteenth century (this was the focus of his Ph.D dissertation) and, on the other, American artists such as John Singer Sargent, whose friendship with the Piedmontese painter Alberto Falchetti was the topic of an article he published in ‘Apollo’ in 2018. Most recently, Michele has directed his attention towards the connections between U.S. artists and the Florence Academy of Fine Arts in the first half of the twentieth century. He is also collaborating on the organization of an exhibition dedicated to the Romantic painter Giuseppe Bezzuoli, scheduled to open at the Galleria degli Uffizi in 2020. Between 2016 and 2017, Michele was the Terra Foundation Pre-Doctoral fellow at the Smithsonian American Art Museum. In September and October of 2017, he additionally received a bimonthly grant from the U.S. Capitol Historical Society, Washington, D.C. to support his Ph.D research.
As a fellow at CIMA, Michele will study Marino Marini’s connections with a group of American artists, art dealers and collectors including Joseph H. Hirshhorn, Curt Valentin, Alfred Hamilton Barr, Irving Penn and Alexander Calder, whom the sculptor befriended between 1948 and the 1960s.
Gianmarco Russo is a PhD candidate in Art History at the Scuola Normale Superiore (Pisa). Under the supervision of Massimo Ferretti, he is currently completing his doctoral dissertation on Alvise Vivarini, with special attention to the relationship of the master with Giovanni Bellini and to nineteenth- and twentieth-century readings of Renaissance art. He attended both the Scuola Normale Superiore and the University of Pisa, defending both his BA and his MA thesis on Lazzaro Bastiani, a Venetian painter until now unjustly interpreted as solely outdated. He is preparing Bastiani’s first catalogue raisonné.
Gianmarco’s research focuses on fifteenth-century painting in Venice and Italian modern sculpture, addressing both connoisseurship and criticism issues. He has published articles in leading academic journals on Roberto Longhi (“Paragone,” 2015; “Prospettiva,” expected 2019), Adriano Cecioni (“Ricerche di storia dell’arte,” 2018), Lazzaro Bastiani (“Paragone,” 2018) and the Vivarinis (“Humanistica,” expected 2019). He presented papers in several international conferences on Giovanni Bellini (Fondazione Cini), Lazzaro Bastiani (University of Bologna), Carlo Ludovico Ragghianti (Fondazione Ragghianti) and Neri Pozza (Scuola Normale Superiore), which were then published in the proceedings. He is a contributor to Dizionario Biografico degli Italiani, with entries on Niccolò Rondinelli (2017) and Antonio, Bartolomeo and Alvise Vivarini (expected 2020).
For the Marino Marini exhibition held in Pistoia and Venice in 2017 and 2018, respectively, Gianmarco delved into the artist’s female nudes through a systematic analysis of Marini’s stylistic evolution and a fresh study of archival documentation. Gianmarco’s research at CIMA aims to show that Marini’s sculpture may be better comprised by regarding it as a struggle between ‘composition’ and ‘poetry.’ Studying the female figures created between 1938 and 1945, he seeks to demonstrate that Marini’s idea of plastic construction of volumes on one hand, and of expressive power of surfaces on the other, is deeply rooted in the figurative debate on fifteenth- and sixteenth-century sculpture sparked among contemporary artists, critics, collectors, and museum curators.