Francesca Alberti

Francesca Alberti
Director of the History of Art Department (2019 – 2025)
Pensionnaire de l’Académie de France à rome (2014 – 2015)
Contact: [email protected]
Bio

Period: 2014-2015
Profession: Art historian Francesca Alberti, born in 1982, lives and works in Paris. She holds a PhD in art history from the Université Paris I Panthéon-Sorbonne ; her thesis is entitled
Laughter, the comic and the ridiculous in Italian Renaissance painting. Her research focuses on art and visual culture in the early modern era. From Correggio’s facetiousness to Tintoretto’s burlesque fables. A Renaissance specialist, she has taught at the Université Paris I and the Université Catholique de l’Ouest-Angers. She has published several articles in specialized journals and collective works(Cuckoldry and Impotence in Early Modern Europe, Extravagances amoureuses: l’amour au-delà de la norme à la Renaissance ). She is co-editor of the volumes Penser l’étrangeté. L’histoire de l’art de la Renaissance italienne entre bizarrerie, extravagance et singularité (Rennes, P.U.R., 2012) and Rire en images à la Renaissance (to be published by Brepols in 2014). Her research has been supported by grants from the Centro Olandese di Storia dell’Arte (Florence), the Deutesches Form für Kunstgeschichte (Paris) and the Université Paris I. Her research focuses on the culture of laughter and its impact on figurative tradition; parody, folklore and popular traditions in the Renaissance. Co-editor of the magazine purpose.fr since 2007, she has been director of Purpose éditions since 2013. She designed the book Jean-Jaurès by photographer Gilles Raynaldy (October 2014).

During her stay at Villa Medici, Francesca Alberti will be working on a research project entitled “At the origin of modern doodling, doodling and scribbling in the Renaissance”, which aims to study the perception and practice of doodling in the Renaissance, from an artistic, historical and anthropological perspective. It aims to show the considerable contribution of this period to the construction of a modern conception of doodling as an expressive resource for artists. Since the beginning of the modern era, the perception of doodles has been constantly evolving. Artists have found in these graphic forms, at the crossroads of popular production, an inexhaustible reservoir of forms and meanings for artistic language.