Francesca Dell’Acqua

dellacquaf@gmail.com

Francesca Dell’Acqua (Salerno, 1971), BA in History of Medieval Art, Archaeology, and Medieval Studies at the Università di Firenze; PhD in History of Medieval Art at the Scuola Normale Superiore di Pisa (2001); Summer Fellow, Dumbarton Oaks Center for Byzantine Studies (2002); Post-Doc Stipendiatin at the Bibliotheca Hertziana/Max-Planck Institut für Kunstgeschichte, Rome (2002–03); Research Assistant, Direction Wolf, Kunsthistorisches Institut/Max-Planck-Institut in Florence (2003–05); Assistant Professor of History of Medieval Art at the Università di Salerno (2005–15); Habilitation to Associate Professor (2014); since 2015 Marie Curie Fellow, Centre for Byzantine, Ottoman and Modern Greek Studies.

Progetti di Ricerca
In the past few years Francesca started to work on the western response to Byzantine iconoclasm or controversy over sacred images. Supported by a Marie Curie Fellowship, her project “ICONOPHILIA” takes into account the origins and developments of Marian and Christological iconography between ca. 680–850 in Rome and central Italy. It will shed light on the reasons why the West opted once and for all for an “iconophile turn.” In fact, the analysis of works of art will be useful in demonstrating how theological concepts developed during the monothelite (640–680 ca.) and the iconoclast controversies (730–843 ca.) were absorbed by western authors, how they were disseminated and translated into visual renderings, and how the latter contributed to reinforce old or spread new theological ideas.

Bibliografia selettiva

• Iconophilia: Religion, Politics and the Arts in Early Medieval Italy (monograph in preparation)

• The Salerno Ivories. Objects, Histories, Contexts, Berlin, Dietrich Reimer Verlag GmbH | Gebr. Mann Verlag | Deutscher Verlag für Kunstwissenschaft, 2016 (edited book with A. Cutler, H. L. Kessler, A. Shalem, G. Wolf).

• “Illuminando colorat”. La vetrata tra la tarda Antichità e l’alto Medioevo attraverso le fonti e l’archeologia. Con Presentazione di Enrico Castelnuovo. Studi e Ricerche di Archeologia e Storia dell’Arte, 4. Collana diretta da L. Pani Ermini e A. Peroni, Spoleto, Centro Italiano di Studi per l’Altomedioevo, 2003 (monograph).

• The Carbunculus (Red Garnet) and the Double Nature of Christ in the Early Medieval West, in Matter and Materiality in the Study of Medieval Art, “Konsthistorisk tidskrift / Journal of Art History,” L. Liepe, K. Kollandsrud (eds.), forthcoming.

• Mary as «scala caelestis» in Eighth and Ninth Century Italy, in The Reception of the Mother of God in Byzantium: Marian Narratives in Texts and Images, M. B. Cunningham, T. Arentzen (eds.), Cambridge, Cambridge University Press, forthcoming.

• «Nihil mihi Plato … contulit». Ambrogio Autperto, il rifiuto di Platone e l’eco dell’Iconoclasmo bizantino, in I. Pagani, F. Santi (eds.), Il secolo di Carlo Magno. Istituzioni, letterature e cultura del tempo carolingio, Florence, SISMEL – Edizioni del Galluzzo, 2016, 233–57.

• · Porta coeli: the Annunciation as Threshold of Salvation, in I. Foletti, H. L. Kessler (eds.), Many Romes. Studiesin Honor of Hans Belting, “Convivium,” II.1 (2015), pp. 102-25.

• · L’auctoritas dello pseudo-Dionigi e Sugerio di Saint-Denis, in “Studi Medievali”, 3° s., LV/1 (2014), pp. 189-213.

• Il mito dell’eroe classico, la ‘rinascenza’ macedone e la cassetta a rosette di Cava, in M. Galante, G. Zanichelli, G. Vitolo (eds.), Riforma della Chiesa, esperienze monastiche e poteri locali. La Badia di Cava e le sue dipendenze nel Mezzogiorno dei secoli XI-XII. Millennio Medievale 99, Florence, SISMEL, 2014, pp. 339-53.

• Ambrogio Autperto e la Cripta di Epifanio nella storia dell’arte medievale. In F. Marazzi (ed.), La cripta dell’abate Epifanio a San Vincenzo al Volturno. Cento anni di studi e ricerche. Studi Vulturnensi 3, Cerro a Volturno, Volturnia Edizioni, 2013, pp. 27-47.

• Il fuoco, le vetrate delle origini e la mistica medievale. In Il fuoco nell’alto medioevo. LX Settimana di Studio (Spoleto, 12-18 Aprile 2012), Spoleto, Centro di Studi sull’Altomedioevo, 2013, pp. 557-97.

• Constantinople 1453: the Patriarch Gennadios, Mehmet the II and the Serpent Column in the Hippodrome, inM. De Giorgi, A. Hoffmann, N. Suthor (eds.), Synergies in Visual Culture / Bildkulturen im Dialog, Munich, Wilhelm Fink, 2013, pp. 325-38.

• The Fall of the Idol on the Frame of the Genoa Mandylion: a Narrative on/of the Borders, in B. Crostini Lappin, S. La Porta (eds.), Negotiating Co-Existence: Communities, Culture and Convivencia in Byzantine Society. Bochumer Altertumswissenschaftliches Colloquium 96, Trier, WVT Wissenschaftlicher Verlag, Trier, 2013, pp. 143-73.

• Borders of Experimentalism: Glass in the Frame of the Genoa Mandylion, in C. Entwistle, L. James (eds.), New Light on Old Glass: Recent Research on Byzantine Glass and Mosaics, British Museum Research Publication, London, British Museum Press, 2013, pp. 234-41.

• Les cinq sens et la connaissance de Dieu. Marie-Madeleine et Thomas dans les Ivoires de Salerne, in“Cahiers de civilisation médiévale”, 55, 2012, pp. 571-598.

• Between Nature and Art: “Transparent Streams of a New Liquid”, in “RES-Anthropology and Aesthetics”, LIII-LIV (2008), pp. 93-103.

• Enhancing Luxury Through Stained Glass, from Asia Minor to Italy, in “Dumbarton Oaks Papers”, LIX (2005), pp. 193-211.

• Glass and Natural Light in the Shaping of Sacred Space in the Latin West and in the Byzantine East, in A. M. Lidov(ed.), Hierotopy. The creation of sacred spaces in Byzantium and Medieval Russia = Ierotopija: issledovanie sakral’nych prostranstv; materialy meždunarodnogo simpoziuma, Moscow, Indrik, 2006, pp. 299-324.

• Parvenus eclettici e il canone estetico della varietas. Riflessioni su alcuni dettagli di arredo architettonico nell’Italia meridionale normanna, in “Römisches Jahrbuch der Bibliotheca Hertziana”, 35 (2003/2004), pp. 49-80.

• Le quattro lamine di rivestimento in filigrana, and La legatura del Cod. Gr. I,53 della Biblioteca Nazionale Marciana. Confronti tecnico-stilistici con la cornice paleologa del Mandylion e altri oggetti affini, in G. Wolf – C. Dufour Bozzo, A. R. Calderoni Masetti (eds.), Mandylion. Intorno al Sacro Voltoda Bisanzio a Genova (exh. cat. Genova, Museo Diocesano, 2004), Milan, SKIRA, 2004, pp. 157-160 and 175-89.

• The Stained-Glass Windows from the Chora and the Pantocrator: a ‘Byzantine’ Mystery?, in H. Klein (ed.), in collaboration with R. Ousterhout, Restoring Byzantium: The Kariye Camii in Istanbul and the Byzantine Institute Restoration (exh. cat., New York City, Miriam and Ira Wallach Art Gallery, 2004), New York, Columbia University, 2004, pp. 68-77.