Future Fellows

Claudia Daniotti

Fall 2019

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

Spring 2020

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

Spring 2020

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.

Erica Moretti

Travel Fellow - Summer 2019

Erica Moretti is an Assistant Professor of Italian at the Fashion Institute of Technology-SUNY. She received a Ph.D. in Italian Studies from Brown University and a diploma in American Studies from Smith College. Her research — rooted in biopolitics, gender and sexuality studies, and critical theory — focuses on pacifism, refugees and displacement, and humanitarianism in Modern Italy. With Sharon Wood, she published a collection of essays on British-Italian writer Annie Chartres Vivanti. She has published on assimilation policies in the United States in the Progressive era, the Italian feminist movement, and Italian colonialism, among other topics. She is currently working on a book project that explores changes in pacifist thought in the first half of the twentieth century in Europe through the work of Italian educator Maria Montessori.

For her CIMA travel fellowship, she will explore the revolution of child-centered and child-sized furniture in the school environment in turn-of-the-century Italy. The goal of this study is to understand how progressive design for children manifested itself through a unique blend of political, social, artistic and cultural forces. Together, these forces aimed at re-shaping the public sphere and re-thinking the notion of democratic and inclusive citizenry. She will conduct research at the Archivi delle Arti Applicate Italiane del XX Secolo, Archivio Randone, Archivio Cambellotti, and the Wolfson Collection in Rome, Bologna, and Genoa, focusing on the work of painter and potter Francesco Randone, founder of the Scuola d’Arte Educatrice; artist and designer Duilio Cambellotti; and pedagogue Alessandro Marcucci.

Jennifer Scappettone

Affiliated Civitella Fellow - Summer 2019

Jennifer Scappettone is an Associate Professor of English, Romance languages and literatures, creative writing, and gender and sexuality studies at the University of Chicago, who works at the juncture of scholarly research, translation, and the literary arts, on the page and off. She is the author of Killing the Moonlight: Modernism in Venice (Columbia University Press, 2014), a finalist for the Modernist Studies Association Book Prize, and her translations of the polyglot poet and refugee from Fascist Italy Amelia Rosselli were collected in Locomotrix (University of Chicago Press, 2012), which won the Academy of American Poets’s biennial Raiziss/De Palchi Prize. Scappettone curates PennSound Italiana, a sector of the audiovisual archive hosted by the University of Pennsylvania devoted to marginalized and experimental voices in Italian contemporary poetry

Scappettone’s recent writings can be found in journals such as alfabeta2, Asymptote, Boston Review, boundary2, Critical Inquiry, e-flux, Jacket2, Moderna, Modern Philology, Nuovi argomenti, and PMLA; in the collections Reading Experimental Writing (Edinburgh University Press, 2019), Geopoetics in Practice (Routledge, 2019), Counter-Desecration: A Glossary for Writing Within the Anthropocene (Wesleyan University Press, 2018), Poetics and Precarity (SUNY Press, 2018), The Fate of Difficulty in the Poetry of Our Time (Northwestern University Press, 2017), Terrain Vague: The Interstitial as Site, Concept, Intervention (Routledge, 2013), and The Princeton Encyclopedia of Poetry and Poetics (Princeton University Press, 2012); and in the catalog for the US Pavilion of the 2018 Venice Architecture Biennale, Dimensions of Citizenship. She has also published several chapbooks and two full-length books of poetry: From Dame Quickly: Poems (Litmus Press, 2009) and The Republic of Exit 43: Outtakes & Scores from an Archaeology and Pop-Up Opera of the Corporate Dump (Atelos Press, 2016). Her work has been recognized by fellowships, residencies, and grants from foundations such as the Stanford Humanities Center, the Bogliasco Foundation, Djerassi Resident Artists Program, the Getty Research Institute, the Gladys Krieble Delmas Foundation, and the Huntington Library, and she was a 2010-11 Rome Prize Fellow in Modern Italian Studies.

For her Affiliated CIMA – Civitella fellowship she will be working on a book manuscript devoted to the visual, spatial, and sonic transformations of verse by modernist and postwar poets such as Emilio Villa and Amelia Rosselli, whose expansions of poetic form in two and three dimensions carve out a space between national languages—reoccupying the utopian ideals of globality manifest in the futurist “wireless imagination” while deterritorializing both the poetry and the ideology of the patria.

Antje Gamble

Affiliated Civitella Fellow - Summer 2020

Antje K. Gamble received her Ph.D. in History of Art at the University of Michigan. Her research focuses on Italian modernist sculpture in the middle of the twentieth-century. From Fascism to the Cold War, Dr. Gamble’s work examines the exhibition, sale, and critical reception of Italian art and how it shaped and was shaped by national and international socio-political shifts. She is currently an assistant professor of Art History in the Department of Art & Design at Murray State University in Kentucky.

Her scholarship has been included in the recent volume Postwar Italian Art History Today: Untying ‘the Knot’ (Bloomsbury Press, 2018), where her chapter titled “Buying Marino Marini: The American Market for Italian Art after WWII” looks at politicized collection practices during the early Cold War. She also has two forthcoming essays: one on the 1949 exhibition “Twentieth Century Italian Art” at the Museum of Modern Art (MoMA) for a book due out late 2019 (The First Twenty Years at MoMA 1929-1949, Eds. Sandra Zalman and Austin Porter. London: Bloomsbury Press.), and another on the 1947-48 ceramic Crocifisso by Lucio Fontana for a 2020 Art Institute of Chicago (AIC) exhibition catalogue. Dr. Gamble is also working on a book project looking at the interdisciplinary importance of the 1950-53 exhibition “Italy at Work: Her Renaissance in Design Today” organized by the Art Institute of Chicago and the Brooklyn Museum and funded by the Marshall Plan.

During the CIMA-affiliated fellowship at the Civitella Ranieri Foundation, Dr. Gamble will be completing a book manuscript on the work of sculptor Marino Marini that tracks aesthetic shifts, both in parallel and opposition to larger geo-political shifts within and outside of Italy from Fascism through the beginning of the Cold War.