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Publications

Books

  • Carlo Cesare Malvasia, Felsina Pittrice: The Lives of the Bolognese Painters. Volume Nine: The Life of Guido Reni (London: Harvey Miller, 2019) in two volumes.
  • Caravaggio and Pictorial Narrative: Dislocating the Istoria in Early Modern Painting (London: Harvey Miller, 2011) Interview on Caravaggio's Ecce Homo (Columbus, November 2011).
  • Claude Nivelon, Vie de Charles Le Brun et description détaillée de ses ouvrages: Introduction et édition critique (Geneva: Droz, 2004). Droz
  • "Philippe, homme sage et vertueux": Essai sur l’art et l’œuvre de Philippe de Champaigne (1602-1674) (Tournai: La Renaissance du Livre, 2002).

Books (as co-editor)

  • Alexander Nagel and Lorenzo Pericolo, eds., Subject as Aporia in Early Modern Art (Aldershote: Ashgate), 2010. Ashgate
  • Carlo Cesare Malvasia, Felsina Pittrice: Lives of the Bolognese Painters. Volume One: Early Bolognese Painters, eds. Elizabeth Cropper and Lorenzo Pericolo (London: Harvey Miller, 2012).
  • Carlo Cesare Malvasia, Felsina Pittrice: The Lives of the Bolognese Painters. Volume Thirteen: The Lives of Domenichino and Francesco Gessi, eds. Elizabeth Cropper and Lorenzo Pericolo (London: Harvey Miller, 2013).
  • Lorenzo Pericolo and David M. Stone, eds., Caravaggio: Reflections and Refractions (Aldershote: Ashgate, 2014).
  • Lorenzo Pericolo and Jessica N. Richardson, eds., Remembering the Middle Ages in Early Modern Italy (Turnhout: Brepols, 2015).
  • Carlo Cesare Malvasia, Felsina Pittrice: The Lives of the Bolognese Painters. Volume Two–Part Two: Life of Marcantonio Raimondi and Critical Catalogue of Prints by or after Bolognese Masters, eds. Elizabeth Cropper and Lorenzo Pericolo (London: Harvey Miller: 2017).
  • Lorenzo Pericolo and Elisabeth Oy-Marra, eds., Perfection: The Essence of Art and Architecture in Early Modern Europe (Turnhout: Brepols, 2019).

Books in Progress (as co-editor)

  • Carlo Cesare Malvasia, Felsina Pittrice: The Lives of the Bolognese Painters. Volume Two-Part One: The Lives of Francesco Francia and Lorenzo Costa, eds. Elizabeth Cropper and Lorenzo Pericolo (London: Harvey Miller, forthcoming 2021).

Essays and Articles

  • "'Knowing through the Eye': Leonardo da Vinci's Imprensiva and Alhazen's Intuitio,' Römisches Jahrbuch der Bibliotheca Hertziana (forthcoming 2021).
  • "Gilles Deleuze's Folds: Leibniz and the Post-Modern Baroque between Informal Art and the Objectile," in Estelle Lingo and Lorenzo Pericolo, eds., Neobaroque to Baroque: Curves of an Art Historical Context (forthcoming 2021).
  • "1582: The Beginnings of the Carracci Academy between Bologna and Rome," in Vita Segreto, ed., Storie e Controstorie delle accademie del disegno (Rome: Accademia Nazionale di San Luca, forthcoming 2021).
  • "The Liver, the Heart, and the Brain: Francesco Scannelli and the Body of Painting," in RES: Anthropology and Aesthetics, 71/72 (2019):178–91. [German translation: “Die Leber, das Herz und das Gehirn: Francesco Scannelli und der Körper der Malerei,” in Elisabeth Oy-Marra and Irina Schmiedel, eds., Zeigen–Überzeugen–Beweisen: Methoden der Wissensproduktion in Kunstliteratur, Kennerschaft und Sammlungspraxis der Frühen Neuzeit (Merzhausen: Ad picturam, 2020:121–57)].
  • "The Renaissance Masterpiece: Giorgio Vasari on Perfection," in Lorenzo Pericolo and Elisabeth Oy-Marra, eds., Perfection: The Essence of Art and Architecture in Early Modern Europe (Turnhout: Brepols, 2019):155–209.
  • "Ubiquitous Perfection," in Lorenzo Pericolo and Elisabeth Oy-Marra, eds., Perfection: The Essence of Art and Architecture in Early Modern Europe (Turnhout: Brepols, 2019):5–31.
  • "Whiteout: Self-Identity and Self-Awareness in Guido Reni's Non-Finito," in Proceedings of the 34th International Congress of Art History, Beijing 2016 (Beijing: Commercial Press, 2019):1:490–501.
  • Review of Michael Fried, After Caravaggio, New Haven: Yale University Press, 2016, Critical Inquiry 44 (2018):609–12.
  • "'Donna bella e crudele': Michelangelo's Divine Heads in Light of the Rime," in Mitteilungen des Kunsthistorischen Institutes in Florenz 59 (2017): 203–33.
  • "The Shifting Boundaries of the Middle Ages: From Die Kultur der Renaissance in Italien (1860) to Anachronic Renaissance (2010)," in Lorenzo Pericolo and Jessica N. Richardson, eds., Remembering the Middle Ages in Early Modern Italy (Turnhout: Brepols, 2015): 271–321.
  • "Incorporating the Middle Ages: Lazzaro Bastiani, the Bellini and the 'Greek' and 'German' Architecture of Medieval Venice," in Lorenzo Pericolo and Jessica N. Richardson, eds., Remembering the Middle Ages in Early Modern Italy (Turnhout: Brepols, 2015): 139–67.
  • "Statuino: An Undercurrent of Anticlassicism in Italian Baroque Art Theory," Art History ( 2015): 862–89.
  • "Giorgio Vasari and the Invisible Prince: The Palazzo Vecchio as a Figure of Introjection," in L. Bertolini, A. Calzona, G.M. Cantarella, and S. Caroti, eds., Il Principe Invisibile: La rappresentazione e la riflessione sul potere tra Medioevo e Rinascimento (Turnout: Brepols, 2015):401–24.
  • "What is Metapainting? The Self-Aware Image Twenty Years Later," in Victor Stoichita, The Self-Aware Image: An Insight into Early Modern Metapainting. New, Improved and Updated Edition with an Introduction by Lorenzo Pericolo (London: Harvey Miller, 2015):1–31.
  • "The Golden Chain: Rembrandt's Cologne Self-Portrait or the Tragicomic Excellence of Painting," in Antonio Bechelloni and Enzo Neppi, eds., De Turin à Paris: Laura Malvano historienne de l'art et critique militante. Hommage à sa vie et son oeuvre, Cahiers d'Études Italiennes, 18 (2014): 131-47.
  • "Interpreting Caravaggio in the Second Half of the Twentieth Century: Between Galileo and Heidegger, Giordano Bruno and Laplanche,” in Lorenzo Pericolo and David M. Stone, eds., Caravaggio: Reflections and Refractions (Aldershote: Ashgate, 2014): 301-20.
  • “Nude in Motion: Rembrandt’s Danaeand the Indeterminacy of the Subject,” in Alexander Nagel and Lorenzo Pericolo eds., Subject in Aporia in Early Modern Art (Aldershote: Ashgate, 2010): 195-216 b_-_final_introduction_-_nagel__pericolo.pdf.  Danae
  • “The Invisible Presence: Close-Up, Cut-In and Off-Scene in Antonello da Messina’s Palermo Annunciate,” Representations, 107 (2009): 1-29.
  • “Heterotopia in the Renaissance: Modern Hybrids as Antiques in Bramante, Cima da Conegliano and the Hypnerotomachia Poliphili,” in Getty Research Journal, 1 (2009): 1-16; a shorter version of this essay is published as “Heterotopia in the Renaissance: Modern Hybrids as Antiques in Bramante and Cima da Conegliano,” in Jaynie Anderson, ed., Crossing Cultures: Conflict, Migrations and Convergence (Carlton: The Miegunyah Press, 2009): 186-91. Heterotopia Getty
  • “Love in the Mirror. A Comparative Reading of Titian’s Woman at Her Toilet and Caravaggio’s Conversion of Mary Magdalene,” Villa I Tatti Studies, 12 (2009): 149-79.
  • “Caravaggio’s The Cardsharps and Marino’s Gioco di Primera: A Case of Intertextuality?,” Memoirs of the American Academy in Rome, 53 (2008): 129-52.
  • “Visualizing Appearance and Disappearance: On Caravaggio’s London Supper at Emmaus,” Art Bulletin, 89 (2007): 519-39.
  • “Philippe de Champaigne and the Image of the Artist,” Apollo, 154 (2006): 44-49.
  • “Smoderato piacer termina in doglia: Sul Trionfo d’Ovidio della Galleria Corsini a Roma attribuito a Nicolas Poussin. Seconda parte," Annali dell’Università di Ferrara. Sezione Storia, 2 (2005): 209-49.
  • “Le Brun moraliste: Le paradigme physiognomique et ses distorsions,” in Bernard Roukhomovsky, ed., L’optique des moralistes de Montaigne à Chamfort: Actes du Colloque international de Grenoble organisé par l’Équipe Rare (Rhétorique et Ancien Régime) avec la participation de l’UMR LIRE et la collaboration scientifique du Centre de Recherche sur l’Imaginaire. Université Stendhal, 27-29 mars 2003 (Paris: Honoré Champion, 2005): 211-33. Le Brun moraliste
  • “Une Crucifixion inédite de Philippe de Champaigne,” Paragone Arte, 59 (2005): 73-77.
  • “Two Paintings for Anne of Austria’s Oratory at the Palais-Royal, Paris: Philippe de Champaigne’s Annunciation and Jacques Stella’s Birth of the Virgin,” Burlington Magazine, 147 (2005): 244-48.
  • “Bourdon l’éclectique: Deux exemples portant sur la scène de genre et le portrait,” Critica d’arte, 21 (2004): 35-45.
  • Catalogue entries on Simon Vouet’s David (Genoa, Galleria di Palazzo Bianco), Saint Sebastian Healed by Saint Irene and a Pious Woman (Naples, private collection) and Portrait of Giovan Carlo Doria (Paris, Musée du Louvre), in Piero Boccardo et al., eds., L’età di Rubens: Dimore, committenti et collezionisti genovesi, exh. cat. (Milan: Electa, 2004): 212-13, 254-57.
  • “Simon Vouet a Genova,” in Piero Boccardo, Clario Di Fabio, Philippe Sénéchal, eds., Genova e la Francia: Opere, artisti, committenti, collezionisti (Cinisello Balsamo: Silvana Editore, 2003): 90-107.
  • “Le roi et le favori: Essai d’interprétation des Reines de Perse par Charles Le Brun,” Annali della Scuola Normale Superiore di Pisa. Classe di Lettere e Filosofia, 6 (2001): 125-48.
  • “Smoderato piacer termina in doglia: Sul Trionfo d’Ovidio della Galleria Corsini a Roma attribuito a Nicolas Poussin. Prima parte,” Annali dell’Università di Ferrara. Sezione Lettere, 4 (2003): 263-92.
  • “Le palais riant d’une femme forte: Marie de Médicis et le Luxembourg,” in Françoise Graziani and Francesco Solinas, eds., Le siècle de Marie de Médici: Actes du séminaire de la chaire Rhétorique et Société en Europe (XVIe-XVIIe siècles) sous la direction de Marc Fumaroli de l’Académie française (Alessandria, 2003 [special issue of Franco-Italica, 21-22 (2002)]): 107-18.
  • “Le fantasiette di Nicolas Poussin per Giovan Battista Marino,” Critica d’arte, 12 (2001): 35-45.
  • “À propos de l’auteur du Christ à la colonne du musée du Louvre: Vouet, Le Sueur ou Le Brun ?,” La Revue du Louvre et des musées de France (2001-5): 41-49.
  • “L’or, le marbre et le jaspe: Jacques Le Mercier et l’église Sainte-Geneviève-du-Mont,” La Revue de l’Art (1999-4):73-82.
  • “Le clavi delle calighe: Qualche riflessione su Rubens, Peiresc et l'archeologia del quadro,” Artes, 6 (1998): 82-96. Rubens Pericolo
  • “Le portrait de Le Brun par Nivelon ou La perfection en peinture,” in Christian Michel, ed., La naissance de la théorie de l'art en France : 1640-1720, in Revue d'esthétique, 31/32 (1997): 221-35.
  • “Sui sentieri di Warburg: L'interpretazione del Quattrocento nella storiografia critica di lingua tedesca tra il 1880 e il 1890,” Artes, 5 (1997): 167-91. Warburg Pericolo
  • “Le Saint Denis l'Aréopagite du Musée des Beaux-Arts de Rouen,” in Alain Mérot, ed., Nicolas Poussin (1594-1665), Actes du colloque organisé au musée du Louvre (Paris: Réunion des Musées Nationaux), 1996, 1:123-50.

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Guido Reni cover

Remembering

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