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Dr. Stefano de Bosio

deBosio_photo 2018_HQ_sw

Freie Universität Berlin

International Summer and Winter University



Stefano de Bosio is a POINT-postdoctoral fellow at the Freie Universität Berlin. His current research and book project titled “Toward an Epistemology of Mirror Images: Shifting Paradigms of Image Reversal in the Visual Arts of the Early Modern Europe” investigates the vast constellation of meanings concerning mirror images (i.e. left-right inverted images) in order to underline the existence of shifting aesthetic and epistemological status attributed to image reversal in the artistic theory and practice of the early modern period. Before coming to Berlin, he has been postdoctoral fellow at the Deutsches Forum für Kunstgeschichte in Paris, and lecturer in Art History at Paris PSL University.

Besides his current ‘mirror images project’, his main research interests concern cultural transfers and artists’ mobility in early modern Europe as well as the creative processes in 16th century Italian art (notions of tradition, imitatio and aemulatio).

Stefano has studied art history in Turin, Bologna and Paris and earned his PhD at the University of Turin with a thesis analyzing the Western Alpine region during the 16th century as an area of complex artistic, cultural and political negotiation.

Current FUBiS courses:

  • 2015 - 2017
    POINT-postdoctoral fellow at the Freie Universität Berlin
  • 2014
    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.
  • 2016
    Cambridge, MA, Harvard University. Global Humanities Junior Research Stay (Principles of Cultural Dynamics Network)
  • 2015
    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.
  • 2015
    Eichstätt, International Spring Academy of the International Consortium on Art History Vision/Voir/Sehen. Workshop leader: ‘Seeing As’ in Art Historical Practices.
  • 2014
    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.