2004–2009 Doctor of Philosophy
Queen’s University, Art History Department, Kingston, Ontario, Canada
Dissertation: “The Visual Narratives of El Greco, Annibale Carracci and Rubens: Altarpieces of the Assumption of the Virgin Mary in the Early Modern Age”, successfully defended in April 2009 and available now in library use
Teaching assistant and course instructor in fifteenth- and sixteenth-century Renaissance art
Related projects and conference papers:
2002–2004
Special Studies in the late Renaissance
University of Toronto, Fine Arts Department, Canada
Main research projects involved seventeenth-century Italian artist Salvator Rosa and his early modern profile examined against his engagements with theater (“Identity and Disguise in Salvator Rosa’s Self-Portraiture”), prints (“Sensi Liberi in Salvator Rosa’s pictorial ideas”), and the Neo-Stoic direction (“Rosa, Rembrandt, Rubens and Poussin: Neo-Stoic Beliefs, Friendship and Memory”)
Dissertation: “The Visual Narratives of El Greco, Annibale Carracci and Rubens: Altarpieces of the Assumption of the Virgin Mary in the Early Modern Age”, successfully defended in April 2009 and available now in library use
Teaching assistant and course instructor in fifteenth- and sixteenth-century Renaissance art
Related projects and conference papers:
- “Annibale Carraci and the Modern Reform of Altar Painting,” Cornell University, Annual Symposium, April 2, 2010.
- “El Greco’s Washington Laocoon: Re-inventing the Myth in an Early Modern Narrative,” Context and Meaning, Agnes Etherington Art Centre, Kingston, January 27-28, 2006.
- “Canadian Photographer William Notman: Looking at Renaissance Prints and Drawings with a North-American Sentiment,” Queen’s University, March, 2005
2002–2004
Special Studies in the late Renaissance
University of Toronto, Fine Arts Department, Canada
Main research projects involved seventeenth-century Italian artist Salvator Rosa and his early modern profile examined against his engagements with theater (“Identity and Disguise in Salvator Rosa’s Self-Portraiture”), prints (“Sensi Liberi in Salvator Rosa’s pictorial ideas”), and the Neo-Stoic direction (“Rosa, Rembrandt, Rubens and Poussin: Neo-Stoic Beliefs, Friendship and Memory”)
