Titian\ s Allegory of Marriage

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Über die Autorinnen und Autoren: Daniel M. Unger teaches the History of Early Modern Art at Ben-Gurion University, Israel. His research focuses on seventeenth-century Bolognese and Roman painting. His recent book Redefining Eclecticism in Early Modern Bolognese Painting: Ideology, Practice, and Criticism was published by Amsterdam University Press in 2019.

Valery Rees teaches in the School of Philosophy and Economic Science in London and has held guest lectureships in Cambridge, Warwick, Budapest, and Jerusalem. Her principal work over many years has been on The Letters of Marsilio Ficino (London: Shepheard Walwyn, 11 vols. in print, 1975–2020), Vol. 12 in preparation. Rees has co-edited and contributed to three essay collections: Platonism: Ficino to Foucault (Leiden: Brill, 2020), Laus Platonici Philosophi: Marsilio Ficino and His Influence (Leiden: Brill, 2011), and Marsilio Ficino: His Theology, His Philosophy, His Legacy (Leiden: Brill, 2002). She has also contributed several articles to Brill’s Encyclopaedia of the Neo-Latin World (2014). Her monograph From Gabriel to Lucifer: A Cultural History of Angels is available in English and German (London: I B Tauris, 2012, repr. 2015; Lambert Schneider, 2017). She has published numerous articles on philosophy, literature, and religion in the Renaissance. Her most recent articles include: ‘Philosophy on the Defensive: Marsilio Ficino’s Response in a Time of Religious Turmoil’, in Platonism: From Ficino to Foucault, eds. Valery Rees, Anna Corrias, Francesca Crasta, Laura Follesa, and Guido Giglioni (Leiden: Brill, 2021), pp. 16–31; ‘Seeing and the Unseen: Marsilio Ficino and the Visual Arts’, Proceedings of Conference Held at the University of Vienna, 15–17 September 2011, in Iconology: Neoplatonism and the Arts in the Renaissance, ed. by Berthold Hub and Sergius Kodera (Routledge, 2021), pp. 62–76; ‘Translation, Absorption, Creation of Something New: Marsilio Ficino Reads Proclus’, in Humanistica, Journal of Early Renaissance Studies, xiii (n. s. vii) 2, 2018; and Heredes et Scrutatores (Pisa: Fabrizio Serra editore, 2020), pp. 67–73.

Mary Pardo is an Associate Professor in the Department of Art at the University of North Carolina in Chapel Hill. She specializes in Renaissance art criticism and theory written in the Italian vernacular. She has published essays on Alberti’s critical aim in Della pittura and on Renaissance concepts of pictorial illusion as they apply to the art of Giotto, Leonardo, Savoldo, and Titian.

Karen Watts is a Visiting Research and Teaching Fellow, Postgraduate Institute for Medieval Studies, University of Leeds; Professeur de Patrimoines et Archéologie Militaires, Ecole du Louvre, Paris; Curator and Archivist, the Worshipful Company of Gold and Silver Wyre Drawers, London; and Curator Emeritus, Royal Armouries Museum, Leeds. Honorific titles include Knight of the Order of Arts and Letters (chevalier de l’ordre des Arts et des Lettres), France, and Fellow of the Society of Antiquaries, London. In addition to teaching, writing and PhD supervision, she is currently the director and curator for a major exhibition in 2023 titled ‘Treasures of Gold and Silver Wire’ to be held at the Guildhall Art Gallery, London.

Esthy Kravitz-Lurie teaches in the Department of Visual Design at the Sami Shamoon College of Engineering in Beer-Sheva. She received her PhD in 2018 from Ben-Gurion University of the Negev, Israel. Her research deals with expressions of Renaissance literature in the mythological and narrative paintings of the Baroque period, in particular Annibale Carracci and his followers, and she interprets their work through pastoral dramas, librettos, and the epic poems of the Cinquecento. She recently completed a Post-Doc at Ben-Gurion University. Kravitz-Lurie’s latest articles are: ‘Hercules and Rinaldo: Annibale Carracci’s Invenzione of Tasso’s Epic Hero’, Athens Journal of Humanities and Arts; ‘Reevaluating Cupid and Pan: The Story of Eros and the Satyr in the Farnese Gallery’, which has been accepted for publication in the Journal of Baroque Studies.