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Dr Livia Lupi


Livia Lupi joined Warwick in 2018 as a Leverhulme Trust Early Career Fellow. Her book project, entitled Painting Architecture in Early Renaissance Italy: Innovation and Persuasion at the Intersection of Artistic and Architectural Practice, focuses on the representation of architecture in Italian painting between the fourteenth and the fifteenth centuries. Arguing that architecture in painting is a powerful form of visual rhetoric, the book explores the architectural imagination of artists and sheds light on the productive intersection between artistic and architectural practice in Italy at this time. Her research falls within the departmental theme of Art in Venice and Northern Italy.

Livia obtained her BA in History of Art from the University of York, her MA from the Courtauld Institute of Art, and then went back to York to work on her AHRC-funded PhD, which she completed in 2016. Before joining Warwick, she was a fellow at the Warburg Institute in London and taught at the University of York and at the Courtauld Institute of Art.

Research interests

  • Late medieval and early modern painting and architecture, especially in Italy
  • Representations of architecture in the arts of Europe and Asia
  • Exchanges between Italy and the late Byzantine world
  • History of rhetoric and its interplay with the visual arts
  • Architectural drawings
  • Painter-architect figures
  • Exchanges between Europe and early modern India

Teaching and supervision

  • Setting the Scene: Architecture and the Visual Arts in Renaissance Italy
  • Classicism

Selected publications

Book Manuscript

Painting Architecture in Early Renaissance Italy: Innovation and Persuasion at the Intersection of Artistic and Architectural Practice (near completion)

Articles and Book Chapters

  • Perspectiva and Prospectiva: Space and the Representation of Architecture in Early Renaissance Italy.”
    In Perspectives on Early Renaissance Pictorial Space, edited by Niko Munz, Sumihiro Oki and Charley Ladee. Turnhout: Brepols (forthcoming 2022).
  • “La rhétorique du lieu. Art de la mémoire et architecture dans l’Oratoire St-Georges de Padoue.” In La figure et son lieu dans la peinture des Trecento-Quattrocento. Mnémonique et poétique, edited by Anne-Laure Imbert. Paris: Éditions de la Sorbonne (forthcoming 2021).
  • “Fictive Architecture and Pictorial Place: Altichiero da Zevio’s Oratory of St George in Padua (c.1379-1384).” In Place and Space in the Medieval World, edited by Jane Hawkes, Meg Boulton and Heidi Stoner, 137-148. New York and London: Routledge, 2018.
  • “The Rhetoric of Fictive Architecture: Copia and Amplificatio in Altichiero da Zevio’s Oratory of St George, Padua.” Architectural History, 60 (2017): 1-35.

Specialist Translations

  • Titian’s Letters. In Titian: Love, Desire, Death, exh. cat., 194-195 and 197-203. London: National Gallery and Yale University Press, 2020.
  • (with Amanda Lillie) Sebastiano del Piombo’s Letters to Michelangelo, 1518-1531. In Michelangelo & Sebastiano, exh. cat., pp. 225-237. London: National Gallery and Yale University Press, 2017.
  • Alessandro Nogarola, La vita della Serenissima Reina Maria d'Austria, Reina d’Ungheria […] (n.p., 1553), pp. 22-24. Appendix 3 in Cordula van Wyhe, “The Fabric of Female Rule in Leone Leoni’s Statue of Mary of Hungary, c. 1549-1556.” In Cambridge and the Study of Netherlandish Art, edited by Meredith Hale, pp. 135-168. Turnhout: Brepols, 2016.

Invited Talks

  • “The Agency of Architectural Settings: Invention, Time and Place in Fra Angelico’s Nicholas V Chapel.” Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte, Rome (29 October 2019).
  • “Drawing, Painting and Building Architecture. A Historical Perspective.” Andrew Phillips Studio, London (28 November 2017).
  • “Rhétorique du lieu: art de la mémoire et architecture dans la peinture italienne au XIVe siècle.” Institut National d’Histoire de l’Art, Paris (16 March 2017).


  • BA (York)
  • MA (London)
  • PhD (York)

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Research Fellow


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Undergraduate modules

HA1A2 Introduction to Art History: Classicism and the Art of Christianity