Fernando Loffredo, Ph.D.

Postdoktorand

loffredo(at)biblhertz.it+39 0669 993-262

Before coming to the Bibliotheca Hertziana, Fernando Loffredo was Andrew W. Mellon Postdoctoral Fellow 2015–2017 at the Center for Advanced Study in the Visual Arts (CASVA) at the National Gallery of Art, Washington DC. From 2014 to 2015, he held a joint appointment as Visiting Assistant Professor in the Departments of Art, and Hispanic Languages and Literature at the State University of New York at Stony Brook, where he designed and taught courses in English and Spanish on early modern Mediterranean and colonial art. He received his PhD in Art History from the University of Naples Federico II in 2010, with a dissertation focusing on the circulation of Italian fountains in the early modern Mediterranean and the artistic and diplomatic relations between Italy and the Iberian Peninsula. He was postdoctoral fellow at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut (2010) and was part of the board of advisors of the exhibition on Bartolomeo Ammannati at Museo Nazionale del Bargello (Florence, 2011). Subsequently, he held a European Research Council post-doctoral fellowship within the interdisciplinary project »Historical Memory, Antiquarian Culture, Artistic Patronage: Social Identities in the Centres of Southern Italy between the Medieval and Early Modern Period« (2011–2013).
His primary research interests are circulation of Italian Renaissance and Baroque sculpture, trans-Mediterranean artistic relations across the Spanish Empire, and the dialogue between art and poetry.
During his research period at the Bibliotheca Hertziana he will complete his first manuscript, titled A Sea of Marble: Traveling Fountains in the Early Modern Mediterranean. At the same time, he will begin a new research project on artistic interconnections between territories and viceroyalties of the global Spanish Empire.

 

 

Publikationen (OPAC-Recherche)

Publications (selection)

A) Articles in academic journals

2016 – “Sulle origini e la sistemazione del monumento di Pedro de Toledo in San Giacomo degli Spagnoli a Napoli”, Bollettino d’arte, 26, 2016, pp. 33–52.

2015 – “Shortly Before Rome: New Woks by Pietro Bernini for the Mozzagrugno Monument in the Cathedral of Lucera”, Zeitschrift für Kunstgeschichte, 78, 2015, pp. 488-497.

2015 – “Giovanni Bandini’s Venus and Adonis for the Sevillian House of Juan de Arguijo in a Sonnet by Lope de Vega”, The Burlington Magazine, CLVII, 2015, November, pp. 758­–762.

2015 – “Viajes mediterráneos de mármoles italianos: sobre la procedencia de la llamada Fuente de Apolo en Aranjuez”, Acta/Artis. Estudis d’Art Modern. Universitat de Barcelona, 3, 2015, pp. 119-129.

2015 – “Il monumento Euffreducci in San Francesco a Fermo. Bartolomeo Bergamasco e Pietro Paolo Stella”, Arte Veneta, 70, 2015, pp. 68–81.

2014 – “Il Pan Barberini, Giacomo da Cassignola e la scultura in marmi colorati nella cerchia di Pirro Ligorio”, Nuovi studi, 19, pp. 145–174.

2013 – “La vasca del Sansone del Giambologna e il Tritone di Battista Lorenzi in un’inedita storia di duplicati (con una nota sul Miseno di Stoldo per la villa dei Corsi)”, Saggi e memorie di storia dell’arte, 36, 2013, pp. 57–114.

2012 – “Pietro Bernini e Giovanni Caccini per le tombe angioine nel Duomo di Napoli”, Prospettiva, 139/140, 2010 (2012), pp. 81–107.

2011 – “La villa di Pedro de Toledo a Pozzuoli e una sicura provenienza per il Fiume di Pierino da Vinci al Louvre”, Rinascimento Meridionale, II, 2011, pp. 93–113.

2010 – “Un pezzo fuori posto: un Putto di Giuliano Finelli sulla tomba di Pedro Enríquez nella Certosa di Siviglia”, Nuovi Studi, 16, 2010, pp. 83–104.

2007 – “Un contributo alla biografia fiorentina di Santi Gucci / Przyczynek do florenckiej biografii Santi Gucciego”, Biuletyn Historii Sztuki, LXIX, 2007, 1/2, pp. 23–36.

B) Articles in edited volumes

2016 – “Sculpting Against the Grain: Camillo Mariani in the Roman Context at the Turn of the Sixteenth Century”, Marco Simone Bolzoni, Furio Rinaldi, Patrizia Tosini (eds.), Dopo il 1564: l’eredità di Michelangelo a Roma nel tardo cinquecento / After 1564: Michelangelo’s Legacy in Late Cinquecento Rome, Roma 2016, pp. 186–207.

2016 – “Sugli esordi di Giacomo da Cassignola, e sull’oscuro Giacomo Pernio, da Villa Giulia indietro fino al cantiere di San Pietro”, Grégoire Extermann, Ariane Varela Braga (eds.), Splendor marmoris: i colori del marmo, da Roma e l’Europa, da Paolo III a Napoleone III, Roma 2016, pp. 51–68.

2014 – “La Fontana Pretoria da Firenze a Palermo gremio urbis accepta: le vicende della produzione, del trasporto e dell’innesto urbano” in Alessandro Nova and Stephanie Hanke (eds.), Skulptur und Platz. Raumbesetzung, Raumüberwindung, Interaktion, Berlin, Reihe I Mandorli, pp. 63–94.

2014 – Two catalogue entries (n. VIII, “Baccio Bandinelli, Andrea Doria come Nettuno”; and n. XV, “Baccio Bandinelli, Tomba di Baccio Bandinelli e Jacopa Doni”) in Detlef Heikamp and Beatrice Paolozzi Strozzi (eds.), Baccio Bandinelli scultore e maestro (1493-1560), (Florence, Museo Nazionale del Bargello, April–July 2014), Firenze 2014, pp. 574–575, 588–590.  

2013 – Two catalogue entries (n. 7, “Michele Marini (?), Busto di Giuliano di Piero de’ Medici”; and n. 21, “Michelangelo Buonarroti, Centauromachia”) in Nicoletta Baldini and Monica Bietti (eds.), Nello splendore Mediceo: papa Leone X de’ Medici e Firenze, (Florence, Cappelle Medicee, March–October 2013), Livorno 2013, pp. 362–363, 388–390.

2011 – “Pedro de Toledo, lo stemma di Castelcapuano e Francesco da Sangallo a Napoli. La produzione di emblemi monumentali e un confronto col portale di Castel Sant’Elmo di Tommaso Boscoli”, in Fabio Mangone (ed.), Castelcapuano da Reggia a Tribunale. Architettura e Arte nei luoghi della Giustizia, Napoli 2011, pp. 42–68.

2011 – “La giovinezza di Bartolomeo Ammannati all’ombra della Tomba Nari,” and three catalogue entries (“Leda e il cigno;” “Tomba Nari;” “Venere”) in Beatrice Paolozzi Strozzi and Dimitrios Zikos (eds.), L’acqua, la pietra, il fuoco. Bartolomeo Ammannati scultore (Florence, Museo Nazionale del Bargello, May–September 2011), Florence 2011, pp. 94–135, 352–355, 360–363, 398–403.

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