• since November 2020: Getty Paper Project Curatorial Fellow, Department of Prints and Drawings, British Museum, London
• since December 2020: ‘Venetian Disegno: New Frontiers’, Online Conference, 20–21 May 2021, Warburg Institute, Co-organiser
• 2020: PhD, Warburg Institute, London (Funding from London Arts and Humanities Partnership and the Delmas Foundation); Dissertation Title: ‘Bartolomeo & Benedetto Montagna and the Role of the Graphic Arts in Vicenza, c.1480–1520’
• October 2018–March 2019: Samuel H. Kress Pre-Doctoral Fellow, The Drawing Institute, The Morgan Library and Museum, New York
• October 2018–March 2019: Visiting Scholar, Department of Art History and Archaeology, Columbia University, New York
• March–May 2016: Michael Bromberg Fellow, Department of Prints and Drawings, British Museum, London
• October 2015–September 2016: Editorial Intern, Print Quarterly, London
• 2015: Masters Degree, History of Art (Distinction), Courtauld Institute of Art, London. Dissertation Title: ‘Pierfrancesco Borgherini’s Friendship with Michelangelo Buonarotti, Medicean Affiliations and Artistic Implications’
• 2014: Bachelor of Arts, History of Art, Courtauld Institute of Art, London
  
  

Publikationen 

• The ‘Virgin-Venus Copperplate’ in the Malaspina Collection and the ‘afterlives’ of an early Italian copperplate from the Veneto, Print Quarterly (forthcoming).
• Colore in Disegno: A reappraisal of the use of color in fifteenth century draftsmanship in the Veneto, Master Drawings, Vol. 68, No.2, (Summer, 2020), pp.148–68.
• Review: Reform through the prism of Print in Strasbourg, Print Quarterly, xxxvii, No.1, April 2020
• Af Klint and Fontana in New York, New York Review of Architecture, May 2019
• Campbell Dodgson’s boxfile, Print Quarterly, xxxv, No. 4, (December 2018)
• Review: Tintoretto’s Artistic Formation, Immediations, December 2018
• Exhibition and catalogue review: Marcantonio Raimondi and Raphael, Art in Print, vii, No. 1, (January–February 2017), pp.32–33
• Review: Safiuddin Ahmed: Great Masters of Bangladesh, Print Quarterly, xxxiii, No.2 (April 2016), pp.78–80

_{[Stand: November 2021]}

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Dr. Genevieve K. Verdigel über ihre mit dem Wolfgang-Ratjen-Preis 2021 prämierte Dissertation „Bartolomeo & Benedetto Montagna and the Role of the Graphic Arts in Vicenza, c.1480–1520“:

The workshop operated by Bartolomeo Montagna in Vicenza between circa 1480 and 1520 was simultaneously a business, a collaborative practice and a space for experimentation. This thesis considers how disegno served as the thread that connected these interests and helped establish the Montagna workshop as the most prosperous on the Venetian terraferma. The question of Bartolomeo Montagna’s artistic formation is addressed through analysis of his drawings in their deployment of media and handling of form in relation to the graphic traditions of other cities across the Veneto. The specialisation of Bartolomeo Montagna’s second son, Benedetto, as an engraver, invites an extended appraisal of both how artists were instructed in printmaking techniques, and factors that facilitated the workshop’s diversification into print production, with cross-regional mobility of artists being revealed as a driving force. Benedetto Montagna is newly afforded a pivotal role in the development of engraving in the Veneto by virtue of the exchanges of ideas and knowhow between engravers that must have taken place around him.

When taken in conjunction with the workshop’s concurrent fulfilment of commissions for altarpieces, devotional paintings and fresco schemes, the fundamental concept that emerges in the workshop is that of collaboration through design. Drawings produced by Bartolomeo Montagna and prints acquired from other artists are posited as the basis of the workshop’s visual archive; a repository that was recycled in diverse projects and deployed by various individuals. A pragmatic approach to resources is ultimately shown to have streamlined operations within the Montagna workshop. The collaboration between Bartolomeo and Benedetto Montagna, as father and son, that was fundamental to their printmaking ventures offers a new dimension to our understanding of the interplay between artistic autonomy and the assertion of a workshop identity. The extended analysis of the family’s production and use of prints and drawings demonstrates compellingly the importance of disegno to the operation of a Venetic workshop. Finally, and crucially, the potential of the Montagna workshop to attract itinerant artists to Vicenza brings into question the hegemony of Venice in the artistic developments of the Veneto.

[Caption: Bartolomeo Montagna, Nude Man Standing Beside a High Pedestal, c. 1510–15, brush and black ink with brown wash with white opaque watercolour over black chalk on blue paper faded to brown, 400 x 258 mm, (The Morgan Library & Museum, New York)]