REPORT A.A. 2021-2022
35TH CYCLE
In the months of December 2021 to July 2022, the 35th cycle doctoral students took part in the cycle of in-depth lectures, which for the 3rd year are held by Italian and international scholars and consist of the presentation of "case studies" that are particularly significant on a critical level. Participation was constant and intense, with an effective and fruitful exchange between PhD students and lecturers. The lectures were accompanied by participation in a number of seminars and conferences organised or recommended by the doctorate. In addition, the doctoral students, on the basis of their scientific interests, took part in conferences, seminars, meetings and book presentations, both in Italy and abroad, as can be seen from their annual activity report forms. In cooperation with their colleagues from the previous cycle, the 35th doctoral students worked on the organisation of the 'In Progress 5' study days, which took place on 5-6 July 2022. With regard to study activities, several PhD students continued to intensify their relations with Italian and international institutions and research centres, carrying out study periods: Stefano Agresti (Paris, Centre Pompidou, Gianelli Archives), Letizia Barozzi (Barcelona, Museu Nacional d'Art de Catalunya), Antonietta Biondi (Florence, Palazzo Pitti Archives; L'Aquila, Giorgio de Marchis Foundation Archives), Cecilia de Filippis (Carlo L. Ragghianti Foundation and Study Centre), Federica De Filippis (Florence, Palazzo Pitti Archives), Cecilia de Filippis (Florence, Palazzo Pitti Archives), Cecilia de Filippis (Carlo L. Ragghianti Foundation and Study Centre), and Antonietta Biondi (Florence, Palazzo Pitti Archives). Ragghianti), Federica De Giambattista (State Museums of Berlin-Skulpturensammlung und Museum fur Byzantinische Kunst), Edoardo Maggi (Lugano, Antonetto Collection), Jessica Planamente (Albert-Ludwigs-Universität Freiburg; Liège, Saint-Jacques; Nuremberg, Germanisches Nationalmuseum), Patrizia Principi (London, The Warburg Institute), Yasmin Riyahi (São Paulo do Brazil, MASP Archive). Many PhD students took part as speakers in national and international conferences: Stefano Agresti (XX École de Printemps, UCLA, Los Angeles), Ioanna Arvanitidou (Madrid, XIX Jornadas de Bizancio), Cecilia de Filippis (National University of Singapore, Universities & Architectural Heritage. Research, Menagment), Edoardo Maggi (University of Leipzig, Photography and the Making of Religion), Patrizia Principi (Rome, Tor Vergata, Le parole dell'ornamento), Yasmin Riyahi (University of Bologna, Audiovisual Workshop), Eugenia Salvadori (VIII Cycle of Medieval Studies Conference). In particular, some doctoral students also took care of the organisation of scientific initiatives: Mitra Hematpoor (Tehran, Italian Embassy, exhibition Italy and Iran. Dialogue Street art), Letizia Barozzi, Federica de Giambattista and Eugenia Salvadori (collaboration on the exhibition Roma medievale. Il volto perduto della città). Finally, a number of PhD students received important recognitions, awards and funding: Ioanna Arvanitidou (research fellow at the Centre for Slavo-Byzantine Studies Ivan Dujčev, Sofia), Federica De Giambattista (grant from the International Scholarship Programme Musei Statali-Berlin), Jessica Planamente (international mobility grant), Virginia Lauria, Edoardo Maggi and Patrizia Principi (Avvio alla ricerca-Sapienza grant). Several PhD students also participated in the Sapienza training course on soft skills for young researchers. On the research side, meetings with the tutor and members of the College facilitated the completion of research, although the health emergency continued to affect the timing of study activities. The progress of the active co-tutorships (Sabina Rosenbergová-Masarikova Univerzita, Brno; Giulia Licitra, Pontifical Gregorian University; Daphne De Luca, Paris, École Pratique des Hautes Études) was also positive. At the meeting of the Board of Lecturers on 14.12.2022, the external referees for the evaluation of the papers were approved. Consequently, the final discussions of the 35th cycle will take place from May 2023.
36TH CYCLE
In the months from December 2021 to July 2022, the PhD students of the 36th cycle took part in a series of lectures held by scholars and specialists in the field, which, for the 2nd year, was mainly dedicated to the relationship between scientific research and the world of work in the field of art history, in particular the organisation of exhibitions and the management/caretaking of museums and exhibition centres. The lectures were complemented by participation in a number of seminars and conferences organised and/or organised by the PhD programme. In addition, doctoral students, on the basis of their scientific interests, took part in conferences, seminars, meetings and book presentations, both in Italy and abroad, as can be seen from their annual activity report forms. On the research side, the students of the doctoral course were engaged during the 2nd year in the continuation of study and reconnaissance activities, as well as an initial reading and critical interpretation of the data acquired. Together with their colleagues from the 35th year, they worked on the organisation of the 'In Progress 5' study days, which took place on 5-6 July 2022. A number of students from the doctoral course distinguished themselves through prestigious awards, scholarships and funding: Lorenzo Mercuri (Sapienza international mobility grant), Chiara Audizi, Eva Scurto and Livia De Pinto (Avvio alla ricerca-Sapienza funding). Furthermore, a large number of PhD students participated as speakers at important international conferences: Chiara Audizi (Lipari, I chiostri nell'area mediterranea tra XI e XIII secolo), Gianlorenzo Chiaraluce (Symposium Prospectives 2022-Digital Art and Activism), Ettore Giovanati (Wien, Albertina, Drawings in Theory and Practice), Gaia Pedrieglieri (VIII Cycle of Medieval Studies), Federica Zalabra (University of L'Aquila, Margaret of Austria in the Networks of Europe). In addition, many PhD students continued to intensify their relations with Italian and international institutions and research centres, carrying out research periods there: Chiara Audizi (Soprintendenza Archeologia Belle Arti e Paesaggio della Basilicata), Gianlorenzo Chiaraluce (Istanbul, SALT Galata), Livia De Pinto (Florence, Archivio Luciano Caruso; Prato, Centro per l'Arte Contemporanea Pecci; Cremona, Archivio Giuseppe Chiari); Sara Esposito (Venice, Fondazione Cini; Milan, Archvio della Triennale), Ettore Giovanati (Paris, Louvre, Department des Art Graphique; Lille, Palais des Beaux-Arts), Davide Lipari (Siena, State Archives; Milan, Trivulziana Library), Lorenzo Mercuri (Université de Nantes; London, British Library; Lisboa, Arquivo Nacional), Lie Ni (Paris, Contemporary Art Galleries), Claudio Sagliocco (Caltagirone, Capuchin Museum), Eva Scurto (Florence, State Archives). Finally, a number of PhD students have held prestigious appointments and coordinated or collaborated on important initiatives: Livia De Pinto (co-ordination of the activities of the PCTO-Percorsi per le competenze transversali e l'orientamento nelle scuole secondarie Videoarte alla Sapienza: history, conservation, valorisation); Alessandra Ferlito (lecturer in the course on the restoration of paintings on canvas (REST/01) at ICR), Lorenzo Mercuri (scientific advice for the documentary Les Templiers for the French TV RMC), Federica Zalabra (appointment as deputy director of the Museo Nazionale d'Abruzzo; lecturer in History of Modern Art at the Scuola di Alta Formazione, ICR-location of Matera), Chiara Audizi, Lorenzo Mercuri and Gaia Pedriglieri (collaboration on the exhibition Roma medievale. The lost face of the city). During the Passage of the Year, which took place on 24 October 2022, the doctoral students then presented their progress to the College and all were admitted, without reservation, to the third year of the course.
37th CYCLE
On 13 January 2022, the doctoral students of the 37th cycle, in their first year, presented their research projects to the Board of teachers, who assigned them tutors and possible cotutors. Already in December 2021, they took part in the cycle of lectures, which for the first year was characterised by a mainly methodological character, aimed at making the new PhD students reflect on the main tools of art-historical research. The course of methodological lectures was accompanied by participation in a number of seminars or conferences organised and/or indicated by the Doctorate. In addition, the doctoral students, on the basis of their scientific interests, participated in conferences, seminars, meetings and presentations of volumes, in Italy and abroad, as can be seen from their annual activity report forms. With regard to research, the work of the 37th cycle doctoral students mainly focused on the definition of the 'status quaestionis' of the thesis topic, as well as on the subsequent critical processing of the collected data and on direct reconnaissance of works and monuments or at archives, museums, libraries, institutions and specialised centres related to the research topic. To this end, several PhD students have carried out research periods at important Italian and foreign institutions: Rebecca Amendola (Thessaloniki, Museum of Byzantine Culture; Venice, Bettini Archive; Sofia, Bulgarian National Archive), Giulia Beatrice (New York, CIMA), Eleonora Del Riccio (London, Royal Academy of Arts; University of Glasgow), Teodora Georgievova (London, British Museum; Belgrade, National Museum of Serbia), Letizia Giardini (Paris, Bibliothèque Kandisky; Musée d'Orsay; Venice, Fondazione Cini), Federico Giglio (Florence, Archivio di Stato), Violeta Kovalenko (Stuttgart, Staatsgalerie), Alice Isabella Leone (New York, MOMA; Venice, Archivio Storico della Biennale), Caterina Modesti (Bologna, Archivio Storico della Pinacoteca Nazionale), Lorenzo Picchetti (Bologna, Archivio dell'Accademia), Raisa Popova (Berlin, Kunstbibliothek; Dresden, Bibliothek SKD-Archiv), Gian Marco Russo (Venice, Museo Correr; London, The Plymouth Archives at The Box), Thébaud (Paris, École Pratique des Hautes Études). Some students took part in in-depth courses: Rebecca Amendola, University of London, Summer School in Classics), Giulia Amodio (Poitiers, Centre d'études supérieures de civilisation médiévale, Semaines d'études médiévales), Federico Giglio (Florence, specialised course in Palaeography and Archive Study), Juanita Jaramillo (London, Warburg Institute, course in Italian Renaissance Palaeography), Caterina Modesti (Palermo, advanced training course in Museology and Museography). In addition, several PhD students have started collaborations with organisations and projects, as well as participated as speakers at national and international conferences: Giulia Amodio (collaboration on the exhibition Roma medievale. Il volto perduto della città), Giulia Beatrice (8th Biennial Conference of the European Network for Avant-Garde and Modernism Studies), Federico Giglio (collaboration on The Medici Archive Project), Juanita Jaramillo (conference Rome, Beyond Borders), Violeta Kovalenko (conference Rome, Words of Periodization in Art History), Nicolò Mazzucato (conference Madrid, Al-Andalus y el arte español: ejercicios de inclusión y de olvido), Caterina Modesti (collaboration international project La forma del Museo), Giuditta Sciamanna (collaboration Fondazione Baruchello), Marine Thébaud (teaching assignment in History of Modern Art at the Université Clermont Auvergne). PhD students Letizia Giardini, Alice Isabella Leone and Giuditta Sciamanna were the winners of the Sapienza Avvio alla ricerca funding call. Lastly, internal (Teodora Georgievova, Masarikova Univerzita, Brno) and external (Giulia Beatrice, Zurich Universität; Federica Milano, Sorbonne, Paris; Nicolò Mazzucato, Universidad Complutense, Madrid; Arianna Papale, Universidad de Barcelona; Marine Thébaud, École Pratique des Hautes Études) co-tutorships were finalised. The presentation of their research work to the Board of teachers was the focus of the year's presentation, held on 14 October 2022, during which the doctoral students defined the general structure of their theses, critically presented the 'status quaestionis' on the study topic and showed the results of their first surveys of monuments, works and documentary materials. All doctoral students were admitted to the 2nd year.