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Giulia Martina Weston

Consultant Lecturer, MA in Fine and Decorative Art and Design, London

PhD, The Courtauld Institute of Art, University of London

Giulia Martina is an art historian, and specialist in Renaissance and Early Modern art.
Her research has focused on 17th-c. Italian painting and society, exploring phenomena of secular and religious patronage in Baroque Rome, the bond between art and technology in the post-Galilean age, and the production of painting in stone in Florence and Siena.
She is interested in the creation and reception of autograph replicas and workshop copies, as well as in the afterlife of Italian Seicento in British art and literature.

She authored the monograph 'Niccolò Tornioli (1606-1651). Art and patronage in Baroque Rome' (Artemide, 2016), and coedited the volumes 'I Pittori del Dissenso' (Artemide, 2014) and ‘A tale of two cities: Rome and Siena in the Early Modern period' (Bandecchi & Vivaldi, in press). Her articles and reviews appeared in the journals Art History, The Burlington Magazine, Valori Tattili and Annales Oratorii. Her most recent essays were published in the books 'Libraries, Books, and Collectors of Texts, 1600-1900' (Routldge, 2018), 'Almost Eternal. Painting on Stone and Material Innovation in Early Modern Europe' (Brill, 2018), 'Colnaghi Collections. Vol I' (Colnaghi, 2018), and 'Originali Repliche Copie/ Originals Replicas Copies' (Ugo Bozzi, 2018).

Over the last decade, Giulia Martina has been working as contributing editor and translator for several journals. She was Researcher for the Getty project 'Roman Inventories 1550-1750', and is currently a member of the permanent committee of the Centre for the Study of Medicine and the Body in the Renaissance – Fondazione Comel. She has been Associate Lecturer in Early Modern Art at The Courtauld Institute of Art since 2016.

Giulia Martina Weston
  • Publications

    Publications

    Books:
    Salvator Rosa nel Regno Unito. Arte, collezionismo e fortuna critica (Rome: Artemide, forthcoming).

    Niccolò Tornioli (1606-1651). Art and patronage in Baroque Rome (Rome: Artemide, 2016).

    Edited Books:
    G. M. Weston and S. Sperindei (eds), ‘A Tale of Two Cities’: Rome and Siena in the Early Modern period (Pisa: Bandecchi & Vivaldi, forthcoming).

    S. Albl, A. V. Sganzerla, G. M. Weston (eds), I Pittori del Dissenso. Giovanni Benedetto Castiglione, Andrea de Leone, Pier Francesco Mola, Pietro Testa, Salvator Rosa (Rome: Artemide, 2014).

    Essays and book chapters:
    “Dipingere il sapere nella collezione Spada. Nuove proposte interpretative per Niccolò Tornioli e Guercino", in Mostrare il Sapere, ed. M. C. Cola (Vatican City: Edizioni Musei Vaticani, forthcoming).

    “Sienese artists and networks in Early Modern Rome: new documents from the Archivio della Fabbrica di San Pietro”, in ‘A Tale of Two Cities’: Rome and Siena in the Early Modern period, eds G. M. Weston and S. Sperindei (Pisa: Bandecchi & Vivaldi, forthcoming).

    “Universal knowledge and self-fashioning: Cardinal Bernardino Spada’s collection of books”, in Libraries, Books, and Collectors of Texts, 1600-1900, eds A. Bautz and J. R. Gregory (London and New York: Routledge, Taylor & Francis, 2018), pp. 28-47.

    “Introduction” and “Francisco de Zurbarán, Magnificat Anima Mea”, in Colnaghi Collections. Vol I, ed. I. Brooke (London: Colnaghi, 2018), pp. 14-31 and pp. 94-97.

    “Invention, ambition and failure: Niccolò Tornioli (1606-1651) and Il Segreto di Colorire il Marmo”, in Almost Eternal. Painting on Stone and Material Innovation in Early Modern Europe, eds P. Baker-Bates and E. Calvillo (Leiden and Boston: Brill, 2018), pp. 299-327.

    “Giovan Battista Salvi, Il Sassoferrato: The ‘serial’ production of a virtuous copyist: methodological issues and an unpublished painting”, in Originali Repliche Copie/ Originals Replicas Copies, ed. P. Di Loreto, trans. G. M. Weston (Rome: Ugo Bozzi, 2018), pp. 237-342.

    “Il dissenso nella pittura: temi e questioni dell’eredità critica di Luigi Salerno”, in I Pittori del Dissenso. Giovanni Benedetto Castiglione, Andrea de Leone, Pier Francesco Mola, Pietro Testa, Salvator Rosa, eds S. Albl, A. V. Sganzerla, G. M. Weston (Rome: Artemide, 2014)., pp. 15-29.

    “Tra il quotidiano e il simbolico. L’utilizzo e il fasto dei tessuti nell’arredo settecentesco di Palazzo Lancellotti a Piazza Navona”, in Vestire i palazzi. Stoffe, tessuti e parati negli arredi e nell’arte del Barocco, ed. C. Volpi (Vatican City: Edizioni Musei Vaticani, 2014), pp. 393-400.

    Articles:
    [Book review] ‘Angelo Caroselli (1585-1652), pittore romano. Copista, pasticheur, restauratore, conoscitore, by Marta Rossetti (Rome: Campisano, 2016)’, The Burlington Magazine, 160 (2018): 256-257.

    ‘Salvator Rosa’s Landscapes in 18th-century Britain. From physical presence to literary interpretation’, Valori Tattili, 7 (2016): 140-153.

    ‘After Galileo: The Image of Science in Niccolò Tornioli’s Astronomers’, Art History, 39, 2 (2016): 302-317.

    ‘True miracles: Niccolò Tornioli’s Episodes of St. Philip Neri’s Life in the Sala Rossa of Santa Maria in Vallicella (1643-1651)’, Annales Oratorii, 13 (2015): 81-123.
  • Speaking / Presentations

    Speaking / Presentations

    John Ruskin, Salvator Rosa, and 17th-century landscape painting, presented at New Approaches to Ruskin on Art and Architecture, London, UCL and The Courtauld Institute of Art, 1-2 December 2017.

    ‘A tale of two cities’: on the conference’s organisation, topics and aims, presented at ‘A tale of two cities’: Siena and Rome in the Early Modern period, Rome, The British School at Rome, 12 October 2017.

    Salvator Rosa and Niccolò Tornioli: Portraying alchemical and astronomical knowledge in post-Galilean Rome, presented at Scientiae Oxford 2016, Oxford, St. Anne’s College, 5-7 July 2016.

    Niccolò Tornioli and ‘il segreto di colorire il marmo’, presented at ‘La pittura poco meno che eterna’: Painting on Stone and Material Innovation, Rome, The British School at Rome, 17 May 2016.

    Magiche ed epistemiche: le immagini della scienza nella Roma di Salvator Rosa, presented at Roma e Napoli al tempo di Salvator Rosa, Rome, Accademia di San Luca, 15-16 December 2015.

    Universal knowledge and self-fashioning: Cardinal Bernardino Spada’s collection of books, presented at Collecting Texts & Manuscripts, 1660-1860, Plymouth University, 16-17 April 2015.

    On Tornioli’s Art and Galileo’s legacy, presented at The 2014 Courtauld Institute of Art Postgraduate Symposium: Showcasing New Research, London, The Courtauld Institute of Art, 6-7 March 2014.

    Notes on the demiurgic activity of the artist in the Early Modern period, presented at The Courtauld Fifth Early Modern Symposium, Work in Progress. Bringing Art into Being in the Early Modern Period, London, The Courtauld Institute of Art, 26 October 2013.

    I pittori del dissenso: temi e finalità della Giornata di Studi, presented at I Pittori del Dissenso, Rome, Istituto Storico Austriaco, 17 May 2013.

    Salvator Rosa’s British afterlives, presented at The Courtauld Fourth Early Modern Symposium, Art and Its Afterlives, London, The Courtauld Institute of Art, 17 November 2013.

    Il Palazzo Lancellotti in Piazza Navona: ipotesi per una ricostruzione fisico-cromatica degli ambienti descritti nell’inventario di Ottavio Maria Lancellotti (1703), presented at Display of Art in Roman Palaces in the Long 17th Century (1550-1750), Rome, Sapienza University, 16-17 June 2010.
  • Professional Affiliations

    Professional Affiliations

    Associate Lecturer, The Courtauld Institute of Art.

    Editor, Pensieri ad Arte (Artemide).

    Member of the permanent scientific committee and Administrator, Centre for the Study of Medicine and the Body in the Renaissance - Fondazione Comel.

    Editor-referee, BTA - Bollettino Telematico dell'Arte.

    Contributing editor, News-Art.

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