- Early modern art history in global perspective
- Drawing and print cultures
- Nature, plants and picture-making
- Eco-art history and ecocriticism
- "Artful instruction: pictorializing and printing artistic knowledge in early modern Germany", Word and Image, 36, 2 (2020), pp. 101-134 (DOI: 10.1080/02666286.2019.1631732), URL: https://www.tandfonline.com/doi/full/10.1080/02666286.2019.1631732
- "'Draw everything that exists in the world.' ’t Light der Teken en Schilderkonst and the shaping of art ed-ucation in early modern northern Europe", Nederlands Kunsthistorisch Jaarboek (NKJ) /Netherlandish Year-book for History of Art 68 (2019): Lessons in Art. Art, Education, and Modes of Instruction since 1400, eds. Eric Jorink, Ann-Sophie Lehmann and Bart Ramakers, pp. 286-321 (DOI: https://doi.org/10.1163/22145966-06801010), URL: https://brill.com/view/journals/nkjo/68/1/article-p286_10.xml?language=en
Jaya Remond studied in Paris and London before gaining her PhD in art history at Harvard University. She specializes in drawing and print cultures at the intersection of art and science, with a particular focus on the development of artistic education as well as in the worldwide circulation of pictorial knowledge through paper tools. Her research positions picture-making, artifacts, artistic practices and ideas in the contexts of visual culture and science. By envisioning image-making as knowledge-making, she explores the material and intellectual conditions of image production and the expertise of artists within and beyond artistic circles in the early modern world. Her work explores how, in early modern Europe and be-yond, artists used innovative techniques – in terms of layout, pictorial technologies and strategies – to train their audiences in new modes of seeing and/or learning. She has published on art pedagogy and drawing manuals in Northern Europe, on botany and picture-making, and on the circulation of prints in early modern Europe.
Prior to coming to the Bibliotheca Hertziana, Jaya held residential postdoctoral fellowships at the Max Planck Institute for the History of Science in Berlin, the Getty Research Institute in Los Angeles (Scholars Program), The Harvard University Center for Italian Renaissance Studies at Villa I Tatti, and the Herzog August Bibliothek in Wolfenbüttel. Her research has been supported by grants and fellowships from the Graduate School of Arts and Sciences at Harvard University, the Germanisches Nationalmuseum, the Kress Foundation, the Max-Weber Stiftung, and the Gerda-Henkel Stiftung among others.