About the Department

The international History of Art Teaching Team offers a spectrum of expertise and individual approaches to teaching, while the department ‘house style’ of lecturing is informal, relaxed, engaging and participatory. Our courses are accessible to those coming to the subject with no previous background in Art History, but are at the same time pitched at a level that will engage all those who are already familiar with the subject.

 

 

Head of History of Art

 

 

Jeremy Boudreau (MA) joined the Senior Management Team of the Institute as Head of History of Art in 2014. His training is as a museum educator and art historian and his specialisation is the art and culture of Renaissance Italy. Today, he oversees a team of lecturers who contribute to the Institute’s history of art courses and study abroad programming. After graduating with a degree in Museum Education from the Massachusetts College of Art and Design in Boston, Jeremy completed his MA in Art History at Syracuse University as a Florence Fellow. He is an accredited Lecturer for The Arts Society, a member of the Association of Art Historians (AAH) and a member of the International Council of Museums (ICOM).

 

 

 History of Art Teaching Team

 

 

 

Agata Anna Chrzanowska (PhD) graduated in Art History with a thesis concerning twentieth-century photography and in Italian Studies with a thesis on the linear perspective in Renaissance painting from University of Warsaw. She obtained her PhD in Italian Studies from Durham University with a thesis on the relationship between the narrative fresco cycles and religious spectacles in fifteenth-century Florence. She has published on the Tornabuoni Chapel in Santa Maria Novella and on the history of Polish photography. She collaborates with the Kunsthistorisches Institut in Florenz, the Peggy Guggenheim Collection in Venice and she works as licensed tour guide.

 

 

 

Caterina Romei (MA) graduated in Art History from the University of Florence with a thesis on the ‘Counter-Reformation in the church of SS. Annunziata’ and received her ‘laurea specialistica’ in Museology with a thesis on ‘Copyists and painters: visitors to the Uffizi Gallery at the end of the 18th century’. Caterina has taught for many years on study abroad programmes for American universities.

 

 

 

Jason Arkles (MA) is an American sculptor working in the traditional methods and materials one would normally associate with a sculptor in Florence. His large-scale figurative work in bronze, marble, terracotta and wood can be found in public and private spaces, museums, cemeteries, and churches in Europe and America, including on the façade of Florence’s Saint Mark’s English Church. Trained in the studio of Charles H. Cecil and in a Pontifical Academy in Rome (sacred art), Jason runs a small teaching studio in Florence, in tandem with his professional career. Jason has also self-published two small books on sculpture; one being a manual for sculpting in clay using a living model, and the other, a translation and commentary on Leon Battista Alberti’s Della Statua. website

 

 

 

Kate Bolton-Porciatti (MPhil) has over 25 years’ professional experience in the early and Classical music world. She teaches Baroque and Classical music and cultural history at the Scuola Lorenzo de’ Medici. Her post-graduate thesis focused on music and dance in 14th-century Italy, since when she has published extensively as an academic, journalist and critic. Prior to moving to Italy in 2007, she was Senior Producer, BBC Arts and Classical Music, and Artistic Director of the prestigious Lufthansa Festival of Baroque Music, in London.

 

 

 

Laura Fenelli (PhD) is originally from Parma and has been living and working as an art historian in Florence since 2007. She has an MA in Medieval History of Art and a Ph.D. in Medieval History. She works on history of medieval and early modern images and saints’ iconography and hagiography and she collaborates with the Kunsthistorisches Institut in Florence. Since 2009 she has been lecturing Art History in English for various colleges and universities.

 

 

 

Lisa Kaborycha (PhD) has a BA in Comparative Literature, an MA in Italian Studies, and a PhD in Medieval and Early Modern European History from the University of California, Berkeley. Her area of specialty is the cultural and social history of Renaissance Florence, having extensively researched fifteenth-century Florentine manuscript anthologies known as zibaldoni. She has been the recipient of Fulbright and National Endowment for the Humanities awards, and Harvard’s Villa I Tatti Fellowship. The author of A Short History of Renaissance Italy (Pearson 2010) and A Corresponding Renaissance: Letters Written by Italian Women 1375-1650 (Oxford 2016), Lisa also teaches at study abroad programmes of various American universities in Tuscany, is an accredited Arts Society Lecturer, as well as a Senior Research Fellow at the Medici Archive Project.

 

 
Lecturer Publications

 

 

 
Boudreau, Jeremy. "Postcards from Castiglion Fiorentino: The Correspondence between Napoleone Aglietti and Stefano Bardni" in Lynn Catterson, ed., Florence, Berlin and beyond: late nineteenth-century art markets and their social networks. Leiden; Boston: Brill, 2020, 309-329.

 

 

 
Chrzanowska, Agata Anna. Who, then, is the «Nympha»? Iconographic Analysis of the Figure of the Maid in the Tornabuoni Frescoes, in The Figure of the Nymph in Early Modern Culture, ed. K. A.E. Enenkel, A. Traninger, Leiden; Boston: Brill, 2018.

 

 

 

Fenelli, Laura. Saints, Miracles and the Image: Healing Saints and Miraculous Images in the Renaissance, ed. S. Cardarelli, L. Fenelli, Brussels; Chicago: Brepols Publishers, 2017.

 

 

 

 

Chrzanowska, Agata Anna. Ghirlandaio, Ficino and Hermes Trismegistus: Prisca Theologia in the Tornabuoni frescoes, Florence: “ISPF-LAB”, XIII,  2016.

 

 

 

Kaborycha, Lisa. A Corresponding Renaissance: Letters Written by Italian Women, 1375-1650. New York; Oxford: Oxford University Press, 2016.

 

 

 

Fenelli, Laura. Images and words in exile. Avignon and Italy in the first half of the fourteenth century (1310‐1352), E. Brilli, L. Fenelli, G. Wolf (eds.), Firenze: Sismel‐Edizioni del Galluzzo,  2015.

 

 

 

Arkles, Jason. On Sculpture by Leon Battista Alberti. Lulu.com, 2013.

 

 

 

Fenelli, Laura. Il convento scomparso. Note per una ricostruzione del complesso fiorentino di S. Maria al Sepolcro (Le Campora), in “Mitteilungen des Kunsthistorischen Institutes in Florenz”, 55, 2, 2013.

 

 

 

Kaborycha, Lisa. “Brigida Baldinotti and Her Two Epistles in Quattrocento Florentine Manuscripts” in Speculum 87.3 (July 2012), 793-826.

 

 

 

Fenelli, Laura. Dall’eremo alla stalla. Sant’Antonio abate tra testi e immagini. Roma; Bari: Laterza, 2011.

 

 

 

Kaborycha, Lisa. A Short History of Renaissance Italy. Edition no. 1. Upper Saddle River, N.J.: Prentice Hall, 2011. 945.06 KAB

 

 

 

Arkles, Jason. Sculpting from Life: A Studio Manual of the Sight-Size Method. Lulu.com, 2007.

  Previous / Returning Lecturers

 

 

 

Alexandra Lawrence (MA) wrote on Dante’s use of ekphrasis in Purgatory X while a master’s student of Italian Language and Literature at San Francisco State University. She has lived in Florence since 1999 and teaches literature, contemporary Italian culture, and travel writing courses at several local universities. She is a professional guide, an editor at The Florentine newspaper and on the council of advisors for the Advancing Women Artists Foundation.

 

 

 

Angela Oberer (PhD) graduated from Bonn University with a Master’s thesis on ‘The Cross Relic at the Scuola Grande di San Giovanni Evangelista in Venice’. Her doctoral thesis, submitted at the Technische Universitaet of Berlin, is entitled ‘The Fresco Cycle of Signorelli and Sodoma in Monte Oliveto Maggiore’. Angela has been teaching Art History for various colleges and universities in Florence since 2003.

 

 

 

Anna-Marie Hilling (MA) graduated in restoration of paintings at the Opificio delle Pietre Dure, Florence, with a dissertation on Giotto’s Ognissanti Crucifix; she then worked in the OPD restoration team of Giotto’s crucifix for the following six years. She has published on the artistic techniques and conservation problems of key works by Giotto, Fra Angelico and Andrea Mantegna.

 

 

 

Bettina Schindler (MA) graduated from the Opificio delle Pietre in Florence and has since restored 62 pieces at the Museo Nazionale del Bargello, along with over 60 works at the Museo degli Argenti, which houses Cardinal Leopoldo de’ Medici’s large ivory collection. Besides her numerous restoration projects for European museums and numerous private collectors, Bettina had taught art restoration for Washington University in Saint Louis and gives exclusive lectures for numerous Tauck Tours Travellers.

 

 

 

Emily Moloney (MA) graduated from Boston College with a degree in Art History and Italian Studies. She completed her MA in Art History as a Florence Fellow at Syracuse University. Her thesis explored Bartolomeo Ammannati’s changing perception of nudity towards his own works with the arrival of the Counter Reformation in Florence. In addition to being a licensed tour guide, Emily is the Coordinator and Lecturer for the Palazzo Strozzi Foundation USA High School Renaissance Award Programme and she lectures for various study abroad programmes in Florence.

 

 

 

Katharina Giraldi-Haller (PhD) studied History of Art, Philosophy and Archaeology at Karl Franzens University in Graz, Austria, where she completed her BA and MA degrees, and at the University of Vienna where she completed her PhD thesis on modern art. She has been a lecturer and research assistant at the Academy of Fine Arts in Vienna, and in Florence she has taught art history for Richmond College, Vanderbildt University, and the University of Bristol Florence Programme at the British Institute of Florence. Her specialist interests are in Italian art from the medieval to modern periods, and in forensic methods, diagnostics and History of Art.

 

 

 

Laura Llewellyn (PhD) holds her BA in History of Art from the University of Bristol and her MA and PhD from the Courtauld Institute of Art. She has recently completed her post-doctoral year working in the paintings department at the J. Paul Getty Museum in Los Angeles. In Autumn 2017 she will take up a research fellowship at the Metropolitan Museum of Art in New York. She has several years of experience teaching art history in both Florence and London.

 

 

 

Mark Roberts (MA) has lived in Tuscany since 1977. He read English at Magdalen College, Oxford, before moving to Florence to work at the British Institute, where he was Librarian from 1981 to 1999. He has translated from the Italian art-historical books for many publishers, and has also catalogued the Acton papers for New York University at Villa La Pietra.

 

 

 

Paola Vojnovic (MA) graduated from the University of Siena with a degree in Preservation and Management of Archaeological, Historical and Artistic Heritage after obtaining her MA in Art History from Syracuse University. She works for the Opera di Santa Croce and as a guest lecturer for US universities based in Florence. Paola’s research was published in Città di Vita, Siti UNESCO magazine and she recently edited two books, The Basilica of Santa Croce: American Reflections and Il Ponte delle Immagini. The newest book she coauthored, Santa Croce in Pink: Untold Stories of Women and their Monuments, celebrates extraordinary women buried or celebrated in the church of Santa Croce.

 

 

 

Samuel Gallacher (PhD) read history at Peterhouse, University of Cambridge, graduating in 2009 with First Class Honours and the Sir Herbert Butterfield Prize for History. After completing his M.Phil. at Cambridge in 2010, he has been a doctoral scholarship holder at IMT Institute for Advanced Studies in Lucca, Italy. Samuel’s Ph.D. research is on art and diplomacy in sixteenth century Europe and the Mediterranean. His research considers the increasing sophistication of diplomatic practice within the cultural trends of the Renaissance classical tradition and the volatility of sixteenth century politics as transformative influences on the use, status, and significance of diplomatic gifts. Samuel is currently a Junior Research Fellow at the Medici Archive Project in Florence.