History of Art Graduate Department of Art

Periti, Giancarla MA, PhD

Associate Professor, Italian Renaissance Art (UT St. George)

Email: giancarla.periti@utoronto.ca

Giancarla Periti (Ph.D., The Johns Hopkins University, 2003) has studied and taught in both Italian and American universities. A specialist of Italian Renaissance art, Periti explores the dense intersections between images and texts, vision and space, materials and making. In her current book projects, Periti reconsiders Correggio’s art in light of questions of modernity and examines the reception of Byzantine art in the Renaissance.

Periti is the recipient of fellowships from the Bibliotheca Hertziana; Villa I Tatti, The Harvard Center for Italian Renaissance Studies; Metropolitan Museum of Art and Social Science and Research Council of Canada, among others. She is also a contributor to the research project Early Modern Sources in Translation: Carlo Cesare Malvasia’s Felsina Pittrice from the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC. In addition she is a member of the Connecting Art Histories Project, 2014-2017, Getty Foundation: Global and Postglobal Perspectives on Medieval Art and Art History.

Areas of Academic Interest
  • Italian Renaissance art and visual culture
  • Vision and visuality
  • Space and monasticism
  • Renaissance historiography and literary criticism
Selected Publications
  • In the Courts of Religious Ladies. Art, Vision, and Pleasure in Italian Renaissance Convents (Yale University Press, forthcoming).

  • Ed. Emilia e Marche nel Rinascimento. L’Identità Visiva della “Periferia” (Bolis Editore) 2005.

  • Ed. Drawing Relationships in Northern Italian Renaissance Art (Ashgate 2004).

  • “Correggio, Giovanna Piacenza and the Tradition of Monastic Interiors,” Artibus et Historiae, forthcoming.

  • “About Parmigianino’s Early Portraits,” Memoirs to the American Academy in Rome, forthcoming.

  • “Female Self-Commemoration, Spirituality and Lineage in Jacopo Loschi’s Frescoes for the Convent of San Paolo in Parma,” I Tatti Studies 13 (2010): 11-32.

  • “Collezionismo in Casa Alberoni,” in La Roma Antica e Moderna del Cardinale Giulio Alberoni Panini, Vasi, Piranesi, ed. Davide Gasparotto, exh. cat. (Piacenza 2008), 29-35.

  • “Epigraphy and the Semiotics of the Line in Late Quattrocento Italy,” in LINEA I. Grafie di Immagini tra Quattrocento e Cinquecento, ed. Marzia Faietti, Gerhard Wolf (Venice 2008), 191-210.

  • “From Allegri to Laetus-Lieto: The Shaping of Correggio’s Artistic Distinctiveness,” The Art Bulletin 86.3 (2004): 459-476.

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