SIGA briefs
Julie A. Harris: Marking Segulah in the Illuminated Bibles of Jewish Iberia
Julie A. Harris has published “Marking Segulah in the Illuminated Bibles of Jewish Iberia”, Medieval Encounters 28:2 (2022): 148-179.
Paula Fayos-Perez and Francesco Gatta: Dos paisajes del Buen Retiro en la colección Wellington
Paula Fayos-Perez and Francesco Gatta have published “Dos paisajes del Buen Retiro en la colección Wellington: nuevas atribuciones a Francisco Collantes y al desconocido Acevedo,” Boletín del Museo del Prado, no. 58, 2022.
Olga Bush awarded 2023 ICMA-Samuel H. Kress Foundation Research and Publication Grant
Olga Bush was awarded the 2023 ICMA-Samuel H. Kress Foundation Research and Publication Grant to support on-site research in Spain and Sicily for her project entitled “Forced Labor: Exotic Fauna in the Animation of Medieval Court Environments.”
Giles Knox: Velázquez's King Philip IV of Spain from The Frick Collection
Giles Knox has authored a monograph on Velázquez’s King Philip IV of Spain from the Frick Collection published in conjunction with the Meadows Museum’s Masterpiece-in-Residence exhibition.
Ronda Kasl appointed Scholar in Practice
Ronda Kasl has been appointed Scholar in Practice on Columbia University’s Committee on Global Thought, a multidisciplinary forum established to advance understanding of global issues and challenges.
Adam Jasienski named Berenson Fellow and Thoma Fellow
Adam Jasienski has been named the Berenson Fellow at Villa I Tatti as well as the Marilynn Thoma Fellow in Art of the Spanish Americas.
Annemarie Jordan Gschwend: On Francisco de Holanda
Annemarie Jordan Gschwend has recently published the essay “On Francisco de Holanda, the Queen of Portugal and the Parma Miniatures” in Parma: crocevia di cultura in Europa. Atti del convegno (Parma, 2022), pp. 43-53.
Carmen Ripollés: Reframing Art History
Carmen Ripollés has published two chapters for the open-access multimedia Smarthistory textbook Reframing Art History: “The sacred baroque in the Catholic world” and “Secular matters of the global baroque.”