Prof. Dr. Sybille Ebert-Schifferer

Director

Sybille Ebert-Schifferer, born in 1955 in Hamburg, studied Musicology, Theatre History, Art History and Philosophy in Munich and at the TU Berlin. She has been Director and Scientific Member at the Bibliotheca Hertziana – Max Planck Institute for Art History in Rome since 2001. A recipient of a grant from the German National Academic Foundation, she had already spent time at the Hertziana during her student years (1976–1977) and returned to Rome from 1982 to 1983 to research her doctoral thesis on Ripanda’s frescoes and the political context of the decorative programme of the Palazzo dei Conservatori.

After the conferral of her doctorate in 1985, Sybille Ebert-Schifferer headed the exhibition department of the Schirn Kunsthalle in Frankfurt (1986–1990) before becoming the director of the Hessisches Landesmuseum in Darmstadt (1991–1997) and Director General of the State Art Collections of Saxony in Dresden (1998–2001). Her exhibition ‘Guido Reni and Europe’ in 1988 was the first retrospective to be devoted to an Italian Baroque painter in Germany. Others followed, prompting museums and universities across Germany to take a fresh look at Italian Baroque painting. While the field has remained at the heart of her research interests, her museum work called for a wider range of subjects such as the investigation of the still life genre or twentieth-century themes. Her commitment to modern and contemporary art found expression in her role on the Board of Trustees of the Jürgen Ponto Foundation (until 2000) and, more publicly, in her participation in the 3sat television programme Bilderstreit, a series of panel discussions on modern art (1997–2000).

Parallel to her museum work Sybille Ebert-Schifferer held teaching positions at the universities of Frankfurt, Bonn and Dresden.

At the Bibliotheca Hertziana – Max Planck Institute for Art History in Rome Sybille Ebert-Schifferer is head of the department »Early Modern Painting and Visual Arts«. Her research focuses on Bolognese and Roman painting of the late sixteenth and the first half of the seventeenth century and on the history of the still life genre in Europe. She has also conducted research into French and German painting of the seventeenth century and their rapport with Italy. The ArsRoma database project, headed by Sybille Ebert-Schifferer, has been gathering information on the production of art in Rome between 1580 and 1630 since 2001.


Memberships/Honorary Positions

1997–2001 Chair of the Verband deutscher Kunsthistoriker (Association of German Art Historians).

1998–2004 Member of the German National Committee of the CIHA (Comité International de l’Histoire de l’art). The statutes do not permit re-election.

1998–2001 Member of the »Groupe Bizot« (regular meetings of the directors of the world’s leading museums), from 2000 Member of the »Chair Group«, 2001 Hosted the annual meeting in Dresden.

1998–2001 Member of the Board of Trustees for the fine arts of the Jürgen Ponto Foundation of the Dresdner Bank.

1999–2001 Member of the Programme Council of the Art and Exhibition Hall of the Federal Republic of Germany in Bonn.

1998–2002 Chair of the Scientific Advisory Board of the Prussian Palaces and Gardens Foundation Berlin-Brandenburg.

2001–2002 Member of the Independent Commission on Culture of the government of the State of Hesse (dissolved after completion of task).

2001–2005 Member of the Board of Trustees of the Alfred Herrhausen Society for International Dialogue (Deutsche Bank).

2002–2010 Member of the Foundation Council of the Foundation of German Humanities Institutes Abroad (DGIA, now Wax Weber Stiftung) at the German Federal Ministry of Education and Research (BMBF) as the representative of the Max Planck Society. (The statutes do not permit more than two terms of office).

2003–2008 Member of the University Council of the Academy of Fine Arts in Vienna.

2004–2005 Member of the Structural Committee of the Stiftung Weimarer Klassik und Kunstsammlungen on behalf of the Federal Government and the State of Thuringia. The Committee was dissolved in 2005 after it had presented its report.

2006-2008 Deputy Chair of the Academic Advisory Board of the German Center for the History of Art in Paris, since 2008 Chair of the Academic Advisory Board of the German Center for the History of Art in Paris.

2006–2012 Member of the Board of Trustees of the Central Institute for Art History in Munich.

Since 2006 Member of the Selection Committee of the Alexander von Humboldt Foundation for the allocation of the Reimar Lüst Award and the Anneliese Maier Research Award.

Since 2009 Member of the Scientific Advisory Board of the German Documentation Centre for Art History – Bildarchiv Foto Marburg.

Member of the Scientific Board of the online review journal HISTARA – Les compte-rendus (Sorbonne, Paris).

Member of the Scientific Advisory Board of the journal Studiolo (Académie de France à Rome).

Member of the Scientific Advisory Board of the journal Bollettino d'Arte (Ministero per i Beni Culturali, Rome).

Member of the Scientific Advisory Board of the series Studia Liberiana of the Chapter of the Papal Basilica of Santa Maria Maggiore.

Since 2010 Corresponding Member of the Academy of Sciences and Literature, Mainz.

Since 2010 Externe Peer Reviewer for Römische Historische Mitteilungen.

Honorary Member of the Association of German Artists.

Honorary Member of the Accademia Clementina in Bologna.

Honorary Member of the Accademia Raffaello in Urbino.

Cavaliere ufficiale of the Order of Merit of the Italian Republic.

 

Exhibitions (Selection)

Guest curator of the exhibition Deceptions and Illusions: Five Centuries of Trompe l'Oeil Painting, Washington, DC (2002).

Member of the Scientific Committee of the exhibitions Albrecht Dürer e l’Italia(Rome 2007), Salvator Rosa (Naples 2008), Pompeo Batoni (Houston/London/Lucca 2007–2008), Trompe-l’oeil (Florence 2008), Amico Aspertini (1474/75–1552) e il suo tempo (Bologna 2008), Täuschend echt. Die Kunst des Trompe-l’oeil (Hamburg 2009) and Inganni ad arte (Florence 2009–2010).

Member of the Scientific Committee of the national exhibition project 10 grandi mostre (Rome, Galleria Borghese 2008–2014).

Member of the Italian National Committee for the 400th anniversary of the death of Caravaggio (Rome, 2010).

Member of the exhibition committee of Palazzo Farnese. Dalle collezioni rinascimentali ad Ambasciata di Francia (Rome 2010/2011).

Member of the exhibition committee of Roma al tempo di Caravaggio of the Soprintendenza Speciale per il Polo Museale Romano (Rome, 2011).

Member of the exhibition committee of Carlo Saraceni (Rome, 2013).

Member of the exhibition committee of Bas-fonds du baroque. Rome des vices, de la misère et des excès (Rome/Paris 2014–2015).

 

Awards and Distinctions

1999 Prix François Sommer Album for the book Natures mortes, Paris 1999.

2009 Summer Fellow at the Sterling and Francine Clark Art Institute, Williamstown, MA, USA.

2010 Geisteswissenschaften International – Preis zur Förderung der Übersetzung geisteswissenschaftlicher Literatur for the book Caravaggio. Sehen – Staunen – Glauben, Munich 2009 (French edition: Caravage, Paris: Hazan 2009).

Publications (OPAC research)

Publications

Books:

Together with Th. Jülich: Gottesfurcht und Höllenangst. Ein Lesebuch zur mittelalterlichen Kunst, Darmstadt 1993.

Il gusto bolognese. Barockmalerei aus der Emilia-Romagna (Exh. Cat.  Darmstadt), ed. by S. Ebert-Schifferer, Bologna/Milan 1993 (published also in French).

Hessisches Landesmuseum Darmstadt (Museen, Schlösser und Denkmäler in Deutschland, Vol. 4, ed. by Th. W. Gaehtgens) Fondation Paribas – Mercatorfonds, Antwerpen 1996 (published also in English and French).

Die Geschichte des Stillebens, München 1998 (La natura morta, Milan 1998; Natures mortes, Paris 1999; Still Life: A History, New York 1999). 

Caravaggio. Sehen – Staunen – Glauben, Munich 2009 (updated 3rd edition 2012).

Caravage, Paris 2009.

Caravaggio: The Artist and His Work, Los Angeles 2012.


Editorship:

Guido Reni und Europa: Ruhm und Nachruhm (Exh. Cat. Frankfurt), ed by S. Ebert-Schifferer et al., Frankfurt 1988 (Ital.: Guido Reni e l'Europa: fama e fortuna).

Giovanni Gerolamo Savoldo und die Renaissance zwischen Lombardei und Venetien. Von Foppa und Giorgione bis Caravaggio (Exh. Cat. Schirn Kunsthalle Frankfurt), ed. by S. Ebert-Schifferer, Milan 1990.

Von Lucas Cranach bis Caspar David Friedrich: deutsche Malerei aus der Ermitage (Exh. Cat. Frankfurt), ed. by S. Ebert-Schifferer, Munich  1991.

Giovanni Francesco Barbieri: Il Guercino 1591–1666 (Exh. Cat. Frankfurt, Washington, Bologna), ed. by S. Ebert-Schifferer et al., Frankfurt 1991.

Deceptions and Illusions. Five Centuries of Trompe l’Oeil Painting (Exh. Cat. National Gallery of Art, Washington D.C.), ed. by S. Ebert-Schifferer, Washington 2002.

L’arte e i linguaggi della percezione. L’eredità di Sir Ernst H. Gombrich, ed. by S. Ebert-Schifferer et al., Milan 2004.

Scambio culturale con il nemico religioso: Italia e Sassonia attorno al 1600, ed. by S. Ebert-Schifferer, Cinisello Balsamo 2007.

Caravaggio e il suo ambiente. Ricerche e interpretazioni, (Studi della Bibliotheca Hertziana, 3) ed. by S. Ebert-Schifferer, J. Kliemann, V. von Rosen, L. Sickel, Cinisello Balsamo 2007.

Joachim von Sandrart. Ein europäischer Künstler zwischen Italien und Deutschland, Proceedings of the international conference at the Bibliotheca Hertziana (Max Planck Institute for Art History), 03/04–04/04/2006 (Rom und der Norden. Wege und Formen künstlerischen Austauschs, Vol. 3), ed. by S. Ebert-Schifferer and C. Mazzetti di Pietralata, Munich 2009.

Salvator Rosa e il suo tempo 1615–1673, Proceedings of the international conference at the Bibliotheca Hertziana (Max Planck Institute for Art History) and the University La Sapienza, Rome, 12/01–13/01/2009, ed. by S. Ebert-Schifferer, H. Langdon and C. Volpi, Rome 2010.

Sacred Possessions. Collecting Italian Religious Art 1500–1900 (The Getty Research Institute Publications, Issues & Debates, 20), ed. by G Feigenbaum and S. Ebert-Schifferer, Los Angeles 2011.

Dürer, l’Italia e l’Europa (Studi della Bibliotheca Hertziana, 6), ed. by S. Ebert-Schifferer and K. Herrmann Fiore, Cinisello Balsamo 2011.
Nuova luce su Annibale Carracci, ed. by S. Ebert-Schifferer and S. Ginzburg, Rome 2011.

La donazione di Enrichetta Hertz 1913–2013 (Exh. Cat. Rome, Galleria Nazionale d’Arte Antica, Palazzo Barberini, 08/03–23/06/2013, ed. by S. Ebert-Schifferer and A. Lo Bianco, Milan 2013, p. 11–25.

100 Jahre Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte. Die Geschichte des Instituts 1913–2013, ed. by S. Ebert-Schifferer, Munich 2013.


Articles (Selection):

»Ripandas Kapitolinischer Freskenzyklus und die Selbstdarstellung der Konservatoren um 1500«, Römisches Jahrbuch für Kunstgeschichte, 23/24 (1988), S. 75–218 (Doctoral Thesis TU Berlin).

»Neue Erkenntnisse zur Künstlerpersönlichkeit Jacopo Ripandas«, in Humanismus in Bologna (Exh. Cat. Graphische Sammlung Albertina), ed. by K. Oberhuber and M. Faietti, Bologna 1988, p. 237–245 and passim (published also in Italian).

»Guido Reni: klassische Norm, christliches Pathos und reine Farbe« and  41 essays on paintings by Guido Reni, in Guido Reni und Europa (Exh. Cat. Schirn Kunsthalle Frankfurt), ed. by S. Ebert-Schifferer, A. Emiliani and E. Schleier, Bologna 1988, p. 16–31 and 114–235 (published also in Italian).

»Savoldo und der Norden. Ein Aneignungsprozess«, in Giovanni Gerolamo Savoldo und die Renaissance zwischen Lombardei und Venetien. Von Foppa und Giorgione bis Caravaggio (Exh. Cat. Schirn Kunsthalle Frankfurt), ed. by S. Ebert-Schifferer. Milan 1990, pp. 78–85 and passim (published also in Italian).

»Vorbemerkung, Portrait, Stilleben« and 15 biographies of artists, in Von Lucas Cranach bis Caspar David Friedrich. Deutsche Malerei aus der Ermitage (Exh. Cat. Schirn Kunsthalle Frankfurt), ed. by S. Ebert-Schifferer, Munich 1991, pp. 9–12, 36–51, 132–143 and passim.

»›Ma c’hanno da fare i precetti dell’oratore con quelli della pittura?‹ Überlegungen zu Guercinos Erzählstruktur«, in Giovanni Francesco Barbieri, Il Guercino (1591–1666) (Exh. Cat. Frankfurt), ed. by S. Ebert-Schifferer, Bologna 1991, pp. 67–96 (published also in Italian).

»Notgottes« and »Das Arbeitszimmer – Heiligtum und Machtsymbol«, in Gottesfurcht und Höllenangst. Ein Lesebuch zur mittelalterlichen Kunst, ed. by S. Ebert-Schifferer and Th. Jülich, Darmstadt 1993, pp. 76–93 and  168–196.

»Italianità – eine deutsche Sehnsucht?«, in Italienische Kunst der Moderne in Frankfurter Privatbesitz (Exh. Cat. Westend-Galerie im Hause der Deutsch-Italienischen Vereinigung e. V.), Frankfurt 1994.

»Sandrart a Roma 1629–1635: Un cosmopolita tedesco nel paese delle meraviglie«, in Roma 1630. Il Trionfo del pennello (Exh. Cat. Rom), Milan 1994, S. 97–114.

»Vom Seicento zum Grand goût«, in Die Galerie der Starken Frauen. Die Heldin in der französischen und italienischen Kunst des 17. Jahrhunderts (Exh. Cat. Düsseldorf/Darmstadt), Munich 1995, pp. 79–96.

»L’expression contrôlée des passions: le rôle de Poussin dans l’élaboration d'un art civilisateur«, in Poussin et Rome, Proceedings of the international conference at the Actes du colloque Villa Médici / Bibliotheca Hertziana (Max Planck Institute for Art History), Rome 1994, ed. by O. Bonfait, Chr. L. Frommel, M. Hochmann and S. Schütze, Paris 1996, pp. 329–352.

»Mit Glück und Methode: der Weg der Bolognesen in den Olymp der Repräsentationskunst«, in Zwei Gesichter der Eremitage. Vol. 2.: Von Caravaggio bis Poussin (Exh. Cat. Bonn), Bonn 1997, pp. 47–57.

»Charles-Alphonse Dufresnoy: Bildnis einer jungen Antiken-Amateurs (Neu- und Rückerwerbungen...des Hessischen Landesmuseums Darmstadt, Barockmalerei)«, Kunst in Hessen und am Mittelrhein, 36/37 (1996/97), pp. 19–21.

»Italienische Malerei vom Beginn des 16. bis zur Mitte des 18. Jahrhunderts: ein sehr summarischer Überblick«, in Von Raffael bis Tiepolo: italienische Kunst aus der Sammlung des Fürstenhauses Esterházy (Exh. Cat. Frankfurt), ed. by I. Barkóczi, Munich 1999, pp. 104–120.

»Ein Deutscher in Paris, Liebling der Salons und Héros de la France. Das Bildnis des Moritz von Sachsen von Jean-Marc Nattier in Dresden«, in Jenseits der Grenzen. Französische und deutsche Kunst vom Ancien Régime bis zur Gegenwart. Thomas W. Gaehtgens zum 60. Geburtstag, ed. by U. Fleckner, M. Schieder and M. F. Zimmermann, Vol. 1: Inszenierung der Dynastien, Cologne 2000, pp. 178–193.

»Verstummter Klang: Musik im Stilleben«, in Musik in der Malerei des 16. und 17. Jahrhunderts (Exh. Cat. Wien), ed. by S. Ferino, Vienna 2001, pp. 95–98.

»Natürlichkeit und ›antiche Manier‹. Joachim von Sandrart als Antikenzeichner«, in Caravaggio in Preussen. Die Sammlung Giustiniani und die Berliner Gemäldegalerie (Exh. Cat. Berlin), ed. by S. Danesi Squarzina, Milan 2001, pp. 57–64.

»Caravaggios ›Früchtekorb‹ und sein Kontext«, Zeitschrift für Kunstgeschichte, 65 (2002), pp. 1–23.

»Art History and its Audience: A Matter of Gaps and Bridges«, in The Two Art Histories. The Museum and the University, Papers of the First Annual Clark Conference, The Sterling & Francine Clark Art Insitute, Williams College, Williamstown (Mass.), 9.–10. April 1999, ed. by Ch. W. Haxthausen, New Haven/London 2002, pp. 45–51.

»Trompe l’oeil. The Underestimated Trick«, in Deceptions and Illusions. Five Centuries of Trompe l’Oeil Painting (Exh. Cat. Washington), ed. by S. Ebert-Schifferer, Washington 2002, pp. 5–23.

»Giambolognas ›Venus und Satyr‹: ein erotisches Staatsgeschenk aus Italien«, Dresdner Kunstblätter, 48 (2004), pp. 232–236.

»Mit dem Alter schreitet die Aufklärung fort. Chardin, Mengs und Graff im Selbstporträt«, in Italiensehnsucht. Kunsthistorische Aspekte eines Topos, ed. by H. Wiegel, Berlin 2004, pp. 81–94.

Review of »Anne-Dore Ketelsen-Volkhardt, Georg Flegel 1566–1638, (Monographien zur deutschen Barockmalerei) ed. by R. Klessmann), Munich/Berlin 2003«, Göttingische Gelehrte Anzeigen, 256 (2004), pp. 217–234.

»Virtus romana als Stilfrage in einem römischen Freskenzyklus der Renaissance«, in Zeichen – Rituale – Werte, Proceedings of the international conference at the Collaborative Research Center 496 at the University Münster (Symbolische Kommunikation und Wertesysteme, Vol. 3), ed. by G. Althoff, Münster 2004, pp. 385–408.

»›Romanitas‹ als Pasticcio. Bauschmuck in einem römischen Treppenhaus des Barock«, in Der unbestechliche Blick auf Kunstgeschichte, Denkmalpflege und Bauforschung. Studien zu Ehren von Wolfgang Wolters, ed. by B. Nicolai et al., Trier 2005, pp. 303–311.

»Guido Reni e l’icona sintetica«, in L’immagine di Cristo: dall’Acheropita alla mano d’artista, ed. by C. L. Frommel, Vatican City 2006, pp. 375–395.

»Der eilige Lebens-Lauf und seine Schutzgöttin. Überlegungen zur ›Berliner Hekate‹«, in Das Modell in der bildenden Kunst des Mittelalters und der Neuzeit. Festschrift für Herbert Beck, ed. by P. C. Bol, Petersberg 2006, pp. 121–38.

»Schlafende Venus und Satyr«, in Giambologna in Dresden. Die Geschenke der Medici (Exh. Cat. Staatliche Kunstsammlungen Dresden), ed. by D. Syndram, M. Minning, Munich/Berlin 2006, pp. 19–25.

»Raffaello e le sue reincarnazioni«, Accademia Raffaello, Atti e studi, 1 (2006), p. 5–30.

»Dresda – altera Florentia«, in Scambio culturale con il nemico religioso: Italia e Sassonia attorno al 1600, ed. by S. Ebert-Schifferer, Cinisello Balsamo 2007, pp. 9–25.

»Giambolognas ›Venus und Sartyr‹ in Dresden. Ein durchdachtes Geschenk für einen Florenz-Bewunderer«, in Docta Manus. Studien zur italienischen Skulptur für Joachim Poeschke, ed. by J. Myssok and J. Wiener, Münster 2007, pp. 301–312.

»Palazzo Zuccari«, in Rom. Meisterwerke der Baukunst von der Antike bis heute. Festgabe für Elisabeth Kieven, ed. by C. Strunck, Petersberg 2007, pp. 274–278.

»Pittori bolognesi e committenze romane nel pontificato di Paolo V«, in I Barberini e la cultura europea del Seicento, Proceedings of the international conference at the Palazzo Barberini alle Quattro Fontane, Rome 07/12–11/12/2004, Istituto Italiano per gli Studi Filosofici, Bibliotheca Hertziana (Max Planck Institute for Art History), Soprintendenza per il Polo Museale Romano, Soprintendenza per i Beni Architettonici e per il Paesaggio di Roma, Institut européen d’histoire de la République des Lettres), ed. by L. Mochi Onori, S. Schütze and F. Solinas. Rome 2007, pp. 47–56.

»Zwischen ›tabula rasa‹ und Normerwartung – Kreativität in der Kunst am historischen Beispiel der Malerei«, in Kreativität ohne Fesseln. Über das Neue in Wissenschaft, Wirtschaft und Kultur (Konstanzer Wissenschaftsforum, Vol. 1), ed. by G. von Graevenitz and J. Mittelstraß, Constance 2008, pp. 107–149.

»Il teatro filosofico della vanità. Le iconografie di Salvator Rosa« and essays Nr. 40–48, in Salvator Rosa tra mito e magia (Exh. Cat.), Naples 2008, pp. 66–82, pp. 166–181.

»Harmonie als Wunschbild: Überlegungen zum Musenzyklus in Carpi«, in Musica e arti figurative: Rinascimento e Novecento, ed. by M. Ruffini, Venice 2008, pp. 81–99.

»Caravaggeschi nordici ›avant la lettre‹«, in Caravaggio e l’Europa. L’artista, la storia, la tecnica e la sua eredità, Proceedings of the international conference, Milan 03/02–04/02/2006, ed. by Luigi Spezzaferro, Cinisello Balsamo 2009, pp. 169–178.

»›Blitz, Mond, Liecht-Kerze, Feuer‹. Sandrart als Maler von Nachtstücken«, in Joachim von Sandrart. Ein europäischer Künstler zwischen Italien und Deutschland, Proceedings of the international conference at the Bibliotheca Hertziana (Max Planck Institute for Art History), Rome, 03/04–04/04/2006, ed. by  S. Ebert-Schifferer and C. Mazzetti di Pietralata, (Rom und der Norden. Wege und Formen künstlerischen Austauschs, Vol. 3, ed. by S. Ebert-Schifferer), Munich 2009, pp. 31–50.

»Finestra e velo. Pittura come illusione«, in Inganni ad arte. Meraviglie del trompe-l’oeil dall’antichità al contemporaneo (Exh. Cat. Florence, Palazzo Strozzi, 16/10/2009 – 24/01/2010), ed. by Annamaria Giusti, Florence 2009, pp. 33–45 (engl.: »Window and veil: painting as illusion«, in Art and Illusions. Masterpieces of Trompe-l’oeil from Antiquity to the Present Day).

»Der Durchblick und sein Gegenteil. Malerei als Täuschung«, in Täuschend echt. Illusion und Wirklichkeit in der Kunst (Exh. Cat. Bucerius Kunst Forum Hamburg, 13/02–24/05/2010), ed. by Bärbel Hedinger, München 2010, pp. 16–23.

»Santa Caterina d’Alessandria«, in Caravaggio (Exh. Cat. Rome, Scuderie del Quirinale 20/02–13/06/2010), ed. by v. Claudio Strinati, Geneva/Milan 2010, pp. 90–95.

»Charles Sterling, La Nature Morte de l’Antiquité à nos jours, Paris 1952«, in Hauptwerke der Kunstgeschichtsschreibung, ed. by Paul von Naredi-Rainer (Kröners Taschenbuchausgabe, Vol. 364), Stuttgart 2010, pp. p. 424–427.

»Caravaggio e la cortigiana: aspetti sociologici e problemi artistici«, in Le Caravage aujourd’hui et autres études (Bulletin de l’association des historiens de l’art italien, 15/16, 2010), pp. 59–74.

»Il tempo infante: un disegno poetico-allegorico di Salvator Rosa«, in Salvator Rosa e il suo tempo 1615–1673, Proceedings of the international conference at the Bibliotheca Hertziana (Max Planck Institute for Art History) and the University La Sapienza, Rome, 12/01–13/01/2009, ed. by Sybille Ebert-Schifferer, Helen Langdon and Caterina Volpi, Rome 2010, pp. 289–298.

»Adam Elsheimer, precursore della Stimmung tra scienza e arte«, in Dal Razionalismo al Rinascimento. Per i quaranta anni di studi di Silvia Danesi-Squarzina, ed. by M. Giulia Aurigemma, Rome 2011, pp. 179–183.

»Annibale Carraccis Bohnenesser: Revolution als Nebenprodukt«, in »Novità«. Neuheitskonzepte in den Bildkünsten um 1600, ed. by Ulrich Pfisterer and Gabriele Wimböck, Zurich 2011, pp. 111–131.

»Quando mangiare fagioli fa una rivoluzione: considerazioni su realismo e ›genere‹«, in Nuova luce su Annibale Carracci, ed. by Sybille Ebert-Schifferer and Silvia Ginzburg, Rome 2011, pp. 20–39.

»La romanità in termini bolognesi: Domenico Maria Canuti a Palazzo Altieri«, in Crocevia e capitale della migrazione artistica: forestieri a Bologna e bolognesi nel mondo (secolo XVII), ed. by Sabine Frommel, Bologna 2012, pp. 327–345.

»Caravaggio dilettante di musica?«, in La musica al tempo di Caravaggio, ed. by Stefania Macioce and Enrico De Pascale, Rome 2012, pp. 29–39.

»Rückblick nach vorn – Eine Einleitung« and »Ernst Steinmann (1866–1934). Der Gründungsdirektor des Instituts«, in 100 Jahre Bibliotheca Hertziana – Max-Institut für Kunstgeschichte. Die Geschichte des Instituts 1913–2013, ed. by S. Ebert-Schifferer, Munich 2013, pp. 10–19,  pp. 36–61 (ann. pp. 248f.; pp. 251–261).

»Enrichetta Hertz (1846–1913). Amore e arte, amore per l’arte«, in La donazione di Enrichetta Hertz 1913–2013 (Exh. Cat. Rom, Galleria Nazionale d’Arte Antica, Palazzo Barberini, 08/03–23/06/2013), ed. by S. Ebert-Schifferer and A. Lo Bianco, Milan 2013, pp. 11–25.

»Mit dem Herzen in Rom, mit den Augen im Gestern. Ernst Steinmanns Blick auf Rom«, in Trier – Mainz – Rom. Stationen, Wirkungsfelder, Netzwerke. Festschrift für Michael Matheus zum 60. Geburtstag, ed. by Anna Esposito, Heidrun Ochs, Elmar Rettinger and Kai-Michael Sprenger, Regensburg 2013, pp. 393–402.

»Zeitbilder / Bildzeiten: Zur Kunst Christoph Brechs«, in Christoph Brech – "it's about time", Ausstellungskatalog Kunsthalle Schweinfurt, Kunstsalon, St. Johanniskirche, 10. Mai – 14. September 2014, hg. von Erich Schneider, Yvonne zu Brech, Christoph Brech, Mainz am Rhein, pp. 32–45.  

»Alt, aber nicht trunken. Zur Rezeption der Trunkenen Alten bei Caravaggio«, in Kosmos Antike. Zur Rezeption und Transformation antiker Ideen in der Kunst; Festschrift für Dieter Blume, hg. v. Maren Neun, Stephan Rößler, Benjamin Rux, Weimar 2015, pp. 41–51.

 

 

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