Dr. Stefano de Bosio
Freie Universität Berlin
International Summer and Winter University
Stefano de Bosio has been teaching at FUBiS since 2017. He holds a PhD in Art History from the University of Turin, Italy, and a postgraduate diploma in Cultural Heritage from the University of Bologna. His research focus on dynamics of cultural exchange in Europe during the early modern period and on theories and practices of image reversal, especially in printmaking. His book “Frontiere. Arte, luogo, identità ad Aosta e nell'arco alpino occidentale” (Officina Libraria, 2021; awarded the Premio Giovanni Testori for Art Criticism) was published last year, his second book on theories and practices of lateral reversal of images is in preparation. In recent years, Stefano has held fellowships at the IKKM – International Research Institute for Media Philosophy in Weimar, Villa I Tatti – The Harvard University Center for Italian Renaissance Studies (Florence) and the Kunsthistorische Institut in Florenz – Max-Planck-Institut.
Current FUBiS courses:
- History of European Art: Local Traditions and Transnational Networks (FUBiS Term II 2023)
- History of European Art: Travelling Artists and Artworks (FUBiS Term III 2023)
- 2015 - 2017
POINT-postdoctoral fellow at the Freie Universität Berlin
Lecturer in Art History at the Paris Science et Lettres Research University
- 2013 - 2014
Postdoctoral Fellow at the Deutsches Forum für Kunstgeschichte in Paris.
- 2012 - 2013
Research assistant at the Department of Prints and Drawings at the Uffizi Gallery, Florence
- 2008, 2013
Scuola di Specializzazione in Beni Storico-Artistici (3rd cycle degree), University of Bologna.
- 2009 - 2012
PhD in Archeological, Historical and Artistic Heritage, University of Turin.
Cambridge, MA, Harvard University. Global Humanities Junior Research Stay (Principles of Cultural Dynamics Network)
Berlin, Freie Universität. Instructor at the International Summer School of the DAAD-funded Principles of Cultural Dynamics Network. Lectures on Image Orientation in Art and Science. Shifting Paradigms on Image Reversal in Early Modern Europe.
Eichstätt, International Spring Academy of the International Consortium on Art History Vision/Voir/Sehen. Workshop leader: ‘Seeing As’ in Art Historical Practices.
Paris, PSL Research University. Enseignement L3 (first degree level): Dialogue des arts. Voyages des oeuvres, voyages des artistes.
- Techniques and theories of image reversal
- Notion of pictorial composition in the early modern period
- Cultural transfers and artists’ mobility in early modern Europe
- The Alps as a cultural contact zone, 14th-17th century
- Artist’s creative process in 16th century Italy (tradition, imitatio and aemulatio)
- “Butterfly Wings: Wölfflin, Kandinsky on Image Reversal and Pictorial Order”, in LaoZhu (ed.), Terms: 34th World Congress of Art History, International Congress Proceedings (Beijing, September 16-20, 2016) (forthcoming).
- “Master and Judge: The mirror as dialogical device in Italian Renaissance Art Theory”, in M. Zimmermann (ed.), Dialogical Imaginations: Debating Aisthesis as Social Perception, (University of Eichstätt-Ingolstadt, April 6-10, 2016), Zurich, Diaphanes (forthcoming).
- “Idea and its Polymorphic Body. On Image Reversal, Pictorial Order and Ekphrastic Practices in Early Modern Italy”, in C. Cieri Via (ed.), The Silence of Images, International Congress Proceedings (Roma, MaXXI, December 7-11, 2015), Roma, Libreria Editrice Vaticana (forthcoming).
- “Formes de la répétition. L’image inversée dans les Recueils gravés au XVIIIe siècle”, in A. Beyer, E. Jollet (eds.), Wiederholung/Répétition, International Congress Proceedings (Paris, Centre Allemand d’Histoire de l’Art, June 26-28, 2014), Berlin/Munich, Deutscher Kunstverlag (forthcoming).
- “Se rendre à Lyon. Les Etats de Savoie et la région lyonnaise entre XVe et XVIe siècles”, in F. Elsig (ed.), Peindre á Lyon au XVIe siècle, International Congress Proceedings (Université de Genève, October, 21-23 2012), Cinisello Balsamo, Silvana Editoriale, 2014, p. 25-41.
- “Mirror-images in ‘reproductive’ prints”, in V. Plesch, G. Wolf (eds.), The challenge of the object: 33rd Congress of the International Committee of the History of Art, congress proceedings of the Postgraduate poster session, Nuremberg 2012, p. 23-26.
- “Per Ambrogio Bellazzi da Vigevano”, Nuovi Studi. Rivista di Arte Antica e Moderna, XVI, 2011, p. 33-60.
- “Torino tra Gotico e Rinascimento”, in E. Castelnuovo, E. Pagella (eds.), Torino. Prima capitale d´Italia, Roma, Istituto dell´Enciclopedia Treccani, 2011, p. 31-54.
- “Maestri vetrai nei cantieri di Giorgio di Challant e nella cattedrale di Aosta”, in R. Domaine, V. Vallet (eds.), Georges de Challant, priore illuminato/Georges de Challant prieur illuminé, International Congress Proceedings (Aosta, Soprintendenza della Valle d’Aosta, September, 18t-19 2009), Aosta, Musmeci, 2011, p. 199-217.
- Andrea Mantegna. Catalogo dell’Opera Grafica, ed. with G. Romano and S. Salomon, Torino, 2008.