Verónica C. Abenza Soria joined the Department of Art and Musicology at the Universitat Autònoma de Barcelona in 2013 as a research fellow. She held a Spanish MICINN Predoctoral fellowship in support of her thesis research on female artistic patronage in Aragon, Navarre and Catalonia (11th–13th centuries) (2013–2017) and held the Fondazione di Studi di Storia dell’Arte Roberto Longhi (Florence, Italy) fellowship in support of her research on the frescoes of the Chapterhouse of Santa María de Sigena (Aragon, Spain) and the frescoes of the church of San Michele degli Scalzi (Pisa, Italy) (2016–2017). She is currently part of the Spanish MICINN research project Mobility and Artistic Transfer in the Medieval Mediterranean (1187-1388): artists, objects and models-Magistri Mediterranei.
Javier Martínez de Aguirre is Professor of Medieval Art History at the Complutense University of Madrid. His research areas are Iberian Romanesque and Gothic art, and medieval heraldry. His publications include Roncesvalles: Hospital y santuario en el Camino de Santiago, Torres del Río: Iglesia del Santo Sepulcro, El escudo de armas de Navarra, Emblemas heráldicos en el arte medieval navarro and Arte y monarquía en Navarra 1328–1425. He edited the Enciclopedia del Románico en Zaragoza (2010, 2 vols) and the Enciclopedia del Románico en Navarra (2008, 3 vols).
Claude Andrault-Schmitt is Emeritus Professor of Medieval Art History at the Centre d’études supérieures de civilisation médiévale (University of Poitiers). She works on monastic architecture in the 12th and 13th centuries, as well as the early Gothic architecture of Aquitaine and the Loire Valley. She has written or directed monographs on Notre-Dame-la-Grande at Poitiers, St-Martial at Limoges, the Cathedral of Tours, canonial life and culture at St-Yrieix and, above all, on Poitiers Cathedral. Besides more synthetic papers for various journals, she has published a number of short monographs for the Société française d’archéologie in its annual Congrès archéologique. She is President of the Societé des Antiquaires de l’Ouest.
Jordi Camps i Sòria is Chief Curator of the Medieval Department of the Museu Nacional d’Art de Catalunya (MNAC) in Barcelona, where he has curated a number of exhibitions. He is one of the principal scientific coordinators of the Enciclopedia del Románico en Cataluña and is a member of the research project Magistri Cataloniae. His personal research interests revolve around sculpture between the eleventh to thirteenth centuries, and the history and historiography of the Romanesque Collections at MNAC.
Eduardo Carrero Santamaria is Lecturer in the Medieval History of Art at the Universitat Autònoma de Barcelona. His most recent research deals with the relationship between architecture and ritual, grounded in an understanding of architectural space as a performative place. All his research is united by a methodological focus on the interaction between architecture and liturgy, exploring the possibilities, limitations and perspectives that the liturgy offers in the study of architectural history. His many publications include the coordination of a volume on the relationships between architecture and liturgy in the cathedrals of the Crown of Aragón (2014), a monograph on the Medieval Cathedrals of Galicia (2005) and a synthesis of new proposals on the problematic Cathedral of Oviedo (2003).
Manuel Antonio Castiñeiras González is currently Associate Professor in the Medieval Art History at the Universitat Autònoma de Barcelona (UAB), where he has acted as the Head of the Department of Art and Musicology from 2014–2017. Previously he was Chief Curator of the Romanesque Collection at the Museu Nacional d’Art de Catalunya (MNAC, Barcelona) (2005–2010) and Associate Professor in the University of Santiago de Compostela (Spain) (1997–2005). His research focuses on Romanesque art and medieval panel painting. He has also worked widely on medieval Pilgrimage and the question of artistic exchange in the Mediterranean between the 11th and 15th centuries. He is currently developing a wide-ranging project on artistic encounters with Byzantium during the Mediterranean expansion of the Crown of Aragon as the 2017–2018 Samuel H. Kress Senior Fellow at the Center for Advanced Study in the Visual Arts-National Gallery of Art, in Washington D.C.
Hugh Doherty is a Lecturer in Medieval History at the University of East Anglia. He is interested in Late Antiquity, the early medieval period and the Romanesque world.
Joan Duran-Porta holds a Ph.D in art history from the Universitat Autònoma de Barcelona, where he is currently Assistant Professor in the department of Art and Musicology. He also teaches at the Universitat de Lleida and at the Universitat Oberta de Catalunya. Between 2007 and 2011 he was assistant curator in the Museu Nacional d’Art de Catalunya (Barcelona). He specialised in medieval metalwork, particularly of the Romanesque period. He uses a multifocal approach based on the analysis of production, patronage, import and social uses of sumptuary goods. His secondary research interests include First Romanesque architecture in southern Europe, and women as artists and patrons in medieval art.
Eric Fernie has taught at the universities of Witwatersrand, East Anglia, Edinburgh and London, where he was Director of the Courtauld Institute. He is a fellow of the British Academy, the Royal Society of Edinburgh, the Society of Antiquaries of London (of which he has been President) and the Society of Antiquaries of Scotland. His books include The Architecture of the Anglo-Saxons (1983), An Architectural History of Norwich Cathedral (1993), Art History and its Methods (1995), The Architecture of Norman England (2000) and Romanesque Architecture: The First Style of the European Age (2014).
Richard Gem is a graduate of Cambridge University with an M.A. in archaeology and Ph.D in the history of art. He is the former Secretary of the Cathedrals Fabric Commission for England (the body responsible for control over, and advice to, England’s historic cathedrals regarding their fabric and contents). He has held research fellowships at the Institute of Archaeology and the Courtauld Institute in the University of London. He has published widely on early medieval and Romanesque architecture, including two volumes of collected papers in 2004, and some fifteen subsequent papers on Late-Antique, Anglo-Saxon, Romanesque and early Irish architecture.
Melanie Hanan is a lecturer at Fordham University and The Cloisters, The Metropolitan Museum of Art, in New York City. Her research focuses on Romanesque metalwork, especially reliquaries in relation to medieval liturgy. She is currently working on a monograph entitled House of God on the Altar, which explores the use of casket – or box-shaped – reliquaries in the Middle Ages. This monograph is based on her doctoral dissertation and research completed in 2016 and 2017 thanks to a Kress Research Grant from the ICMA and a fellowship at the Center for Medieval Studies at Fordham University. Dr. Hanan received her Ph.D from the Institute of Fine Arts at NYU, and her M.A. from the Courtauld Institute of Art.
Armen Kazaryan is Vice-Director of the State Institute for Art Studies at the Russian Federation’s Ministry of Culture. He is also a Vice-Director of the Research Institute for the Theory and History of Architecture and Town-Planning (Moscow). He is the author of around 200 publications, as well as having acted as a consultant on several architectural restoration projects. His four-volume study ‘Church Architecture of the Seventh Century in Transcaucasian Countries: The Formation and Development of the Tradition’ (Moscow, 2012–2013, written and published in Russian) was honoured with the Europa Nostra Award (2014) and with the Toros Toramanian Award (2016). He is currently working on a large-scale study of the architecture of Ani, the medieval capital of Armenia. He has cooperated with the World Monuments Fund and Turkish restorers in the conservation of monuments of Armenian architecture in eastern Turkey.
Wilfried E. Keil studied Film and TV business administration in Dortmund, and Art History, Philosophy and Classical Archaeology in Munich before receiving his Ph.D in 2011 at the Ruprecht-Karls-University Heidelberg with a thesis on Romanesque beast-columns (publication: Romanische Bestiensäulen, Berlin 2018). He has participated in several research initiatives concerned with building archaeology, inventory and excavations at the Institute for European Art History at Heidelberg University. Since July 2011 he has worked as a postdoctoral researcher concerned with script and character on a major project entitled ‘Material Text Cultures. Materiality and Presence of Writing in Non-Typographic Societies’. His research interests are Medieval Architecture and Sculpture, Renaissance Sculpture, Animal Iconography, Inscriptions and Film. He has written a number of scholarly articles and is currently writing a monograph about the presence and restricted presence of inscriptions in medieval architecture and sculpture.
Bruno Klein studied art history in Berlin, Paris, Cologne and Bonn. In 1983 he received a doctorate from the Free University of Berlin with a dissertation on the beginnings of French High Gothic architecture. He was a scholar at the German Institute of Art History in Florence and an academic assistant in Göttingen, where he habilitated in 1991 with a paper on Italian Romanesque architecture and sculpture. Bruno Klein is now Professor in History of Art at Technische Universität Dresden and a member of the Saxonian Academy of Sciences. In 2015/16 he was Richard-Krautheimer Gastprofessor at the Bibliotheca Hertziana, Rome. His research focusses on Medieval art and the history of architecture from Antiquity to the present day. In particular, Bruno Klein highlights the role of communication in both the conception and creation of artworks as well as in their medial distribution. He was editor and/or author of several books, among them Die Kirche als Baustelle (The church as a building site) (2013), Gothic: Visual Art of the Middle Ages 1140–1500 (2012) and Geschichte der bildenden Kunst in Deutschland (A History of Visual Art in Germany – Gothic) (2017).
Anne Leturque holds a doctorate in the history of medieval art, having been jointly supervised by Professors Manuel Castiñeiras and Géraldine Mallet in Barcelona and Montpellier respectively. She organised and coordinated the factura research programme, which has now developed into a collaborative platform [http://factura-recherche.org] and curated the exhibition: Du fragment à l’ensemble: les peintures murales de Casesnoves. She also co-directed with Géraldine Mallet a publication entitled Arts picturaux en territoires catalans (XIIe–XIVe siècle: approches matérielles, techniques et comparatives (Montpellier 2015). Anne Leturque has been a lecturer at Paul-Valéry University Montpellier since 2012 and is a researcher and associate member of the Montpellier Centre for Medieval Studies [http://cemm.upv.univ-montp3.fr/equipe/membres-associes/anne-leturque], a member of the scientific and cultural project at the Maison aux Images de Lagrasse (Aude) [http://rcppm.org/blog/] and the research programme Magistri Mediterranei [www.magistrimediterranei.org/en/project/].
Esther Lozano-López (Ph.D 2003) has held teaching and research positions at the University of Girona (2007–10), at the Universitat Autònoma in Barcelona (2010–11) at the Universitat Rovira i Vigili in Tarragona (2011–12), and at the School of New Interactive Technologies; ENTI-Universitat of Barcelona (2017). She has also lectured at the Spanish National University of Distance Education (UNED) from 2009. Her research is concerned with medieval iconography and its social and cultural contexts, with how iconographical programmes in turn relate to architectural space (particularly in cathedrals and monasteries), and, above all, to Romanesque sculpture in the Iberian Peninsula. She has also published in the field of ecclesiastical patronage, memory, visual discourse and epigraphy.
John McNeill teaches at Oxford University’s Department of Continuing Education, and is Honorary Secretary of the British Archaeological Association, for whom he has edited and contributed to volumes on Anjou, King’s Lynn and the Fens, the medieval cloister and English medieval chantries. He was instrumental in establishing the BAA’s International Romanesque Conference Series and has a particular interest in the design of medieval monastic precincts.
Robert A. Maxwell (Sherman Fairchild Associate Professor of Fine Arts, Institute of Fine Arts, New York University) has published on sculpture, illumination, and medieval urbanism. He is editor, with K. Ambrose, of Current Directions in Eleventh- and Twelfth-Century Sculpture Studies (2011) and of Representing History, 900–1300: Art, Music, History (2010). Recent essays include ‘Le livre-objet entre oralité et ‘literacy’: la memoria du medium dans le monde juridique’ (2017) and ‘Pictura como Figura’: autenticidad artística y duplicidad en Raluy’ (2015). He is currently completing a book on illuminated historical and legal texts (cartularies, chronicles) of the central Middle Ages.
Christopher Norton is Emeritus Professor of Medieval Art and Architecture in the Department of History of Art and the Centre for Medieval Studies at the University of York. He has published widely on aspects of medieval art and architecture.
Anna Orriols is Associate Professor of Art History at the Universitat Autònoma de Barcelona (UAB). Her research focuses on Catalan medieval art, specifically on the iconographical programmes found in Romanesque wall painting, on manuscript illumination (in particular the scriptoria of Girona and Cuixà and manuscript copies of Beatus of Liébana‘s Commentary on the Apocalypse), hagiographical programmes and episcopal imagery and patronage. Her current interests explore the relationship between the various arts in Catalan Romanesque, the representation of patrons and artists on works of art, and the depiction of the wonderful, magical and miraculous in medieval art, along with objects and jewels believed to have magical properties, a subject about which she is co-organizing a symposium to be held in Barcelona in October 2018 (Imago & Mirabilia). Anna Orriols is part of the research group (GdR) Magistri Cataloniae at the Universitat Autònoma de Barcelona (Departament d’Art i Musicologia). Most of her publications are to be found on academia.edu.
Richard Plant has taught at a number of institutions and worked for many years at Christie’s Education in London, where he was deputy academic director. His research interests lie in the buildings of the Anglo-Norman realm and the Holy Roman Empire, in particular in architectural iconography. He is Publicity Officer for the British Archaeological Association and co-edited the first volume in this series, Romanesque and the Past.
Arturo Carlo Quintavalle was appointed Professor of the History of Art at the Università di Parma in 1965, where he also presided over the Faculty of Letters. He was responsible for the Convegni internazionali su temi dell’arte medieval, which he organised for 14 successive years in Parma, and whose transactions he edited. He has curated exhibitions on Wiligelmo e Matilde (Mantova 1991), Benedetto Antelami (Parma 1990) and Il medioevo delle cattedrali (Parma 2006) and has published extensively on the medieval art and architecture of central and northern Italy, both on specific buildings – Il Duomo di Modena (Modena 1964), La cattedrale di Parma (Parma 1974), Il Duomo di Cremona (1973 and 2010) – and on more wide-ranging medieval themes – La strada Romea (Milano 1975), Vie dei pellegrini nell’Emilia occidentale (Roma 1977) and Romanico padano civiltà d’occidente (Firenze 1969). He has a particular interest in the use of architecture and imagery during the period of the Gregorian Reform, the work of Master Niccolo and the importance of the Antique during the 11th and 12th centuries. Professor Quintavalle is a member of the Accademia dei Lincei.
Jens Rueffer received his Ph.D from Humboldt-University (Berlin) in 1998 with a thesis on Cistercian aesthetic culture and habilitated at the University of Bern in 2010 with a thesis on manufacturing and the perception of medieval sculpture (Werkprozess – Wahrnehmung – Interpretation, Berlin 2014). From 2007–10 he worked within a larger project on the building history of the cathedral of St. James in Santiago de Compostela focusing on the medieval sources (Die Kathedrale von Santigo de Compostela 1075–1211. Eine Quellenstudie. Freiburg 2010). As an independent scholar he has taught as a visiting professor at the Universities of Bern, Freiburg, Darmstadt, Graz and Vienna. His research concentrates on various aspects of medieval architecture and sculpture as well as on the art and architecture of monastic orders with a special focus on the Cistercians.
Carles Sánchez Márquez wrote his Ph.D on the Organisation of Romanesque cathedral workshops in Spain at the Universitat Autònoma de Barcelona, where he now works as a lecturer in medieval art history. His researches interests focus on Romanesque artists, sculpture (particularly portals) and mural painting, as well as on Pilgrimage and the spread of the cult of St Nicholas in the Iberian Peninsula. He has presented the results of his research at conferences at the Scuola Normale Superiore in Pisa (Index Magistri Cataloniae. Artisti tra anonimato e firma nella Catalogna e nel bacino Mediterraneo), Perpignan (L’anonymat et la signature des artistes dans la Catalogne et le bassin méditerranéen) and Barcelona. He has also published articles in academic journals such as Iconographica, Ad Limina, Codex Aquilarensis and Cahiers de Saint-Michel de Cuxa. Carles Sanchez is a member of the research group Magistri Cataloniae and the research project Magistri Mediterranei at the Universitat Autònoma de Barcelona (UAB).
Marta Serrano Coll is currently Associate Professor in the department of History and History of Art at the Universitat Rovira i Virgili in Tarragona (URV) where she has taught since 2006. She is a member of the international research group Templa whose work is concerned with Romanesque cathedrals and their environmental contexts in Catalonia. She is also interested in images of power in the art of the Middle Ages and the extent to which art functioned as an advertisement to proclaim and promote the monarchical institutions of the Iberian Peninsula. Her recent publications include studies on Romanesque sculpture and hagiography.
Neil Stratford is Emeritus Keeper of Medieval and Later Antiquities at The British Museum and, in addition to having held a number of teaching posts in London and the United States, was Professor of medieval art and archaeology at L’Ecole nationale des Chartes in Paris. He is the director and principle author of the Corpus de la sculpture de Cluny, I. Les parties orientales de la Grande Eglise Cluny III, associé étranger de l’Académie des Inscriptions et Belles-Lettres (Institut de France) and was awarded the grand prix de La Société Française d’Archéologie in 2011.
Carlotta Taddei is an independent researcher in Medieval Art History. After completing her Ph.D on 12th-century sculpture in Lucca she worked for the department of Cultural Heritage at the University of Parma. She was a member of the organizing committee for all fourteen international conferences of the Italian Association of Medieval Art Historians (AISAME) that were held in Parma between 1998 and 2012. She also helped with the exhibition Il Medioevo delle Cattedrali (Parma 2006) and collaborated in the publication of the proceedings and catalogue. She obtained the National Scientific Qualification in 2012. She is currently teaching at the European School in Parma and at the University of Modena and Reggio Emilia. Her research interests are rooted in the Romanesque and Gothic architecture and sculpture of Northern Italy, and the liturgical setting of the medieval church and town. Recent publications are ‘Le ventre de la cathedrale’, in G. Boto & C. García de Castro Valdés (eds.), Material and Action in European Cathedrals. Building, decorating, celebrating (2017) and ‘Costruire lo spazio sacro fuori dalla Cattedrale. La liturgia stazionale’’ in G. Boto, A. Garcìa Aviles & H. Kessler (eds.), Construir lo sagrado en la Europa romànica. Reliquia, espacio, imagen y rito (2017).
Rose Walker is a specialist in the art and architecture of medieval Spain. She was Academic Registrar and Deputy Secretary of The Courtauld Institute of Art, before deciding to pursue a second career as an art historian. She has published two books: Views of Transition. Liturgy and Illumination in Medieval Spain (1998) and Art of Spain and Portugal from the Romans to the Early Middle Ages (2016), as well as a range of articles on manuscripts, sculpture, wall-paintings and the sumptuary arts.
Shannon L. Wearing received her Ph.D at the Institute of Fine Arts, New York University, in 2015. She specialises in the art and architecture of medieval Spain, with an emphasis on illuminated manuscripts of the 12th and 13th centuries. At present she serves as the Assistant Editor of the journal Res: Anthropology and Aesthetics, and is an invited Affiliate of the UCLA Center for Medieval and Renaissance Studies. She has taught at the University of California, Irvine; New York University; and The City College of New York. Her most recent article is ‘Holy Donors, Mighty Queens: Imaging Women in the Spanish Cathedral Cartularies of the Long Twelfth Century’, published in the Journal of Medieval History in 2016. Her current book project focuses on royal artistic patronage and courtly culture in and around Barcelona at the turn of the 13th century.