What we do in Art History
Paula Cagli
Paula is an art historian and tour guide who divides her time between Rome and Brussels. She is a specialist on the Renaissance art of Rome, and this is her website.
Ros Falvey
Ros is a retired diplomat with a research interest in the medieval tapestries in Brussels.
Eduardo Lamas-Delgado
Eduardo Lamas-Delgado is an art historian in the Department of Documentation, in the Royal Institute for Cultural Heritage (KIK-IRPA), in Brussels. His research focuses on baroque Spanish painting, particularly painting in Madrid during the 17th century.
He is working on a research project on the Spanish paintings conserved in Belgian public collections. He is also preparing the catalogue raisonné of Francisco Rizzi (1614-1685), a Spanish painter from Italian origins. This painter in the service of Philippe IV and Charles II of Spain is considered to be a pioneer of the international baroque style in Madrid, and one of the most important followers there of Rubenism.
Elizabeth L'Estrange, Université de Liège
I am currently FRS-FNRS Chargée de recherches at the University of Liège, in the department of History of Art. I am working on a research project on women as viewers of tournaments in the later middle ages. I am interested in how different genders are/were said to look at images and texts, and am particularly interested in challenging the ‘film theory’ idea that women cannot ‘look’ at men, or that their gaze is somehow dangerous. The tournament seems to be a place in which women could actively look at men – and could enjoy the spectacle.
I completed my PhD at the University of Leeds in 2004 on images of childbirth and maternity in late-medieval devotional manuscripts. This research has now appeared as a monograph, Holy Motherhood: Gender, Dynasty and Visual Culture in the Later Middle Ages (Manchester: Manchester University Press, 2008).
Margot Loudon
I have a PhD in Classics, and have been pursuing art-historical interests in classical/Byzantine studies, and Byzantine/early Renaissance art.
Sarah Moran
Sarah Moran is pursuing her PhD in the Department of the History of Art and Architecture, Brown University. Her dissertation, “Un-Conventual Women? The Visual Culture of the Flemish Beguinages, 1585-1700”, confronts the art and architecture of Beguinages, a type of female semi-monastic community, in Dutch-speaking provinces of the Spanish Netherlands during the early modern period. Their members, the Beguines, lived in community and adopted a semi-monastic lifestyle without taking the permanent vows of nuns. As a subject of study the Beguinages offer a rich field in which to deepen our understanding of early modern urban life and, in particular, to further the debates about religious reform, female experience and agency, and the roles played by images during the Counter Reformation.
She recently started a job at the Institute for Art History at the University of Bern in Switzerland. The Lehrstuhl to which she is attached is oartocularly concerned with Flemish art, so trips back to Belgium are likely.
Emma Woodford
Emma Woodford is an artist with an interest in the origins and geographical dynamics of medieval art and current research into women artists in the mid-1800s to mid-1900s.
Paula is an art historian and tour guide who divides her time between Rome and Brussels. She is a specialist on the Renaissance art of Rome, and this is her website.
Ros Falvey
Ros is a retired diplomat with a research interest in the medieval tapestries in Brussels.
Eduardo Lamas-Delgado
Eduardo Lamas-Delgado is an art historian in the Department of Documentation, in the Royal Institute for Cultural Heritage (KIK-IRPA), in Brussels. His research focuses on baroque Spanish painting, particularly painting in Madrid during the 17th century.
He is working on a research project on the Spanish paintings conserved in Belgian public collections. He is also preparing the catalogue raisonné of Francisco Rizzi (1614-1685), a Spanish painter from Italian origins. This painter in the service of Philippe IV and Charles II of Spain is considered to be a pioneer of the international baroque style in Madrid, and one of the most important followers there of Rubenism.
Elizabeth L'Estrange, Université de Liège
I am currently FRS-FNRS Chargée de recherches at the University of Liège, in the department of History of Art. I am working on a research project on women as viewers of tournaments in the later middle ages. I am interested in how different genders are/were said to look at images and texts, and am particularly interested in challenging the ‘film theory’ idea that women cannot ‘look’ at men, or that their gaze is somehow dangerous. The tournament seems to be a place in which women could actively look at men – and could enjoy the spectacle.
I completed my PhD at the University of Leeds in 2004 on images of childbirth and maternity in late-medieval devotional manuscripts. This research has now appeared as a monograph, Holy Motherhood: Gender, Dynasty and Visual Culture in the Later Middle Ages (Manchester: Manchester University Press, 2008).
Margot Loudon
I have a PhD in Classics, and have been pursuing art-historical interests in classical/Byzantine studies, and Byzantine/early Renaissance art.
Sarah Moran
Sarah Moran is pursuing her PhD in the Department of the History of Art and Architecture, Brown University. Her dissertation, “Un-Conventual Women? The Visual Culture of the Flemish Beguinages, 1585-1700”, confronts the art and architecture of Beguinages, a type of female semi-monastic community, in Dutch-speaking provinces of the Spanish Netherlands during the early modern period. Their members, the Beguines, lived in community and adopted a semi-monastic lifestyle without taking the permanent vows of nuns. As a subject of study the Beguinages offer a rich field in which to deepen our understanding of early modern urban life and, in particular, to further the debates about religious reform, female experience and agency, and the roles played by images during the Counter Reformation.
She recently started a job at the Institute for Art History at the University of Bern in Switzerland. The Lehrstuhl to which she is attached is oartocularly concerned with Flemish art, so trips back to Belgium are likely.
Emma Woodford
Emma Woodford is an artist with an interest in the origins and geographical dynamics of medieval art and current research into women artists in the mid-1800s to mid-1900s.
