David Freedberg Curriculum Vitae

Education South African College High School University of Cape Town Yale University Balliol College, Oxford Degrees B.A.(Yale). Summa cum laude. Honors with exceptional distinction in Classics. D. Phil. (Oxford). Doctoral dissertation entitled Iconoclasm and Painting in the Revolt of the Netherlands, 1566-1609, supervised by Dr. L.M.J. Delaiss and Professor Sir Ellis Waterhouse; examined by Professor H.R. Trevor-Roper and Mr Gregory Martin. Scholarships Yale South Africa Scholarship Rhodes Scholarship University Prizes Lucius Robinson and Charles Runk Prizes for Latin Woolsey Scholarship and Galpin Prize in Classics Pre-employment activities Member of the British School at Rome's excavations at Narce, Summer, Papers presented in the Department of History of Art, Oxford, and at Professor Sir Ernst Gombrich's Seminar at the Warburg Institute, 1968 1970-72 1967 1968 1966 1969 1961-65 1966 1966-69 1969-73

Languages Latin, Greek, Hebrew, German, French, Spanish, Italian and Dutch (reading); Italian, French, Dutch, German (spoken) Employment Lecturer in the History of Art, Westfield College, University of London Lecturer in the History of Art, Courtauld Institute of Art, University of London Professor of Art History, Columbia University and Chair, Department of Art History, Barnard College Professor of Art History, Columbia University Director, Italian Academy for Advanced Studies in America, Columbia University Pierre Matisse Professor of the History of Art, Columbia University Academies and Learned Societies American Academy of Arts and Sciences American Philosophical Society Accademia Nazionale di Agricultura, Corresponding Member Istituto Veneto di Scienze, Lettere e Arti, Corresponding Member Distinguished Lectureships and Professorships Baldwin Professor, Oberlin College Horst Gerson Lecturer, University of Groningen Slade Professor of Fine Art, Oxford V.L.B. Leerstoel, University of Brussels (Distinguished Visiting Professor in the Humanities and Sciences) Hallo Memorial Lecturer, Jewish Museum, New York Siemens Foundation Lecturer, Munich Directeur d'Etudes, Ecole des Hautes Etudes en Sciences Sociales, Paris Andrew W. Mellon Professor, National Gallery of Art Lovis Corinth Research Professorship Lecture, Emory University Edward J. Surtz lectures, Loyola University, Chicago 1979 1983 1983-84 1988-89 1989 1991 1993 1996-98 1999 2001 19971997200620101973-76 1976-84 1984-86 198620002007-

Nat C. Robertson Distinguished Professor of Science and Society, Emory University Rudolf Wittkower Gast-Professor, Bibliotheca Hertziana, Rome Fellow, Wissenschaftskolleg, Berlin Research Grants and Fellowships London University Senior Research Fund Grants British Academy Humanities Research Grant Visiting Member, Institute for Advanced Study, Princeton Barnard College, Faculty Research Grant Visiting Member, Netherlands Institute for Advanced Study (declined) American Philosophical Society Research Grant Guggenheim Fellowship Wissenschaftskolleg Berlin (postponed) Fellow, Center for Advanced Studies in the Behavioral Sciences, Stanford University (postponed) Wissenschaftskolleg, Berlin, Other Appointments Secretary, Renaissance Society of Great Britain Foreign Member of Commission established by the Belgian Government to supervise the restoration of Rubens's Raising of the Cross in Antwerp Overall external examiner, University Edinburgh Secretary and Associate Chair, Board of Studies in the History of Art, University of London Trustee of the Pasternak Trust Consultant Editor, Natural History Section, Royal Library/British Academy/Accademia Nazionale dei Lincei Project on The Paper Museum of Cassiano dal Pozzo Visiting Committee, Department of Fine Arts, Harvard University Consulting Editor and Contributor, The Image of the Black in Western Art Getty Grant Program, Postdoctoral Grant Selection Committee Committee on Collections, Whitney Museum of American Art Comitato dei Garanti, Parco Borghese e musei, Rome Board of Directors, Fondazione Federico Zeri, Bologna

2006 2008-09 2009

1975,77,78 1979 1980-81 1985-86 1985-86, 1998-99 1986 1989-90 1995-96, 1999-2000 2001-2002 2009

1977-78 1978-85 1978-81 1980-83 1979-93 19871991-95 1992-96 1995-98 1995-97 19962000-

Advisory Board, Centrum voor de Vlaamse Kunst van de 16de en de 17de Eeuw, Antwerp, Board of Directors, Foundation for Italian Art and Culture, Commissione per la Selezione del Direttore del Dipartimento Patrimonio Culturale, Consiglio Nazionale delle Ricerche, Rome Chair, Restoration Committee, Liberty Hall, Machiasport Maine Historical Preservation:

200020042005 2006

Leader of project to save Liberty Hall, Machiasport, Maine. Major example (1873) of American Italianate architecture overlooking site of first naval battle (1775) of the American Revolution. Founded 501(c )(3) organization, The Friends of Liberty Hall, to raise funds to restore building. Raised $1 million in 2 years; supervised works in conjunction with TTL architects, Portland Maine, and a variety of engineering and construction firms. Boards of Learned Journals: Founding Director and Advisory Editor, Print Quarterly Advisory Board, Res Editorial Advisory Board, Italian Review Editorial Board, FMR Editorial Board, Material Religion Editorial Advisory Board, Nuncius, Florence Editorial Board, The Journal of Neuroesthetics, London Editorial Board, Arts and Neurosciences, Paris Invitational Lectures (selected locations until 1998): To the Kunstgeschichtliche Gesellschaft zu Berlin and the Zentralinstitut fr Kunstgeschichte, Munich; at the Universities of Oxford, Warwick, East Anglia, Cambridge, Utrecht and Groningen; at Bedford College and University College, London; at the Johns Hopkins University; Queens University, Ontario; Bryn Mawr College; Swarthmore College; Williams College; University of Chicago; Cornell University; Harvard University; Yale University; Stanford University; New York University, Institute of Fine Arts; the Victoria and Albert Museum; Museum of Fine Arts, Boston; the Metropolitan Museum of Art; the National Gallery of Art; the Scuola Normale Superiore, Pisa; etc., etc. Invited Conference Papers (selected) Ninth Annual Symposium on Byzantine Studies, 1983199120002003-2009 2003-2009 200420052006

University of Birmingham VIIme colloque internationale, Comit internationale d'histoire de l'art, Copenhagen Humanism in the Netherlands in the Sixteenth Century, Renaissance Society of Great Britain International Conference on Rubens, Antwerp 24th International Conference in the History of Art, Bologna Art in Culture Conference, University of Ghent Religion and Society in Early Modern Europe, Wolfenbttel Conference on Rubens and Flemish Painting, Ringling Museum, Sarasota Symposium Organizer and Moderator, The Problem of Classicism, College Art Association Meeting The Lowlands in Transition, Arizona Center for Medieval and Renaissance Studies, Tempe, Getty-NIAS conference on Dutch Art and Art History. Getty Center, Santa Monica Aspetti del Collezionismo Barocco: Cassiano dal Pozzo 1588-1657 Seminario Internazionale, Naples Dutch Landscape Painting, Museum of Fine Arts, Boston The Holy Image, Annual Byzantine Conference, Dumbarton Oaks, Art and Documentary Culture in the Seventeenth Century, Villa Spelman, Johns Hopkins University, Florence Plenary Speaker, New England Renaissance Conference, Amherst, Mass. Van Dyck 350, National Gallery of Art Session Organizer and Moderator, The Problem of Fetishism, College Art Association Meeting, Washington 400 Anni dell'Orto Botanico di Pisa, Convegno Internazionale, Pisa Session on Mimesis, XXVIIth International Congress of the History of Art, Berlin Seventeenth Century Dutch Landscape, Fogg Art Museum, Harvard University Nicolas Poussin, Muse du Louvre, Paris Animals in Art and Science, The New School for Social Research Histories of Art/Histories of Science, Department of the History of Science, Harvard The Image in the Twenty-First Century, Wisschenschaftskolleg, Berlin Bild und Reprsentation, Wissenschaftskolleg, Berlin etc. etc.

1975 1975 1976 1977 1979 1980 1981 1982 1986 1986 1987 1987 1988 1990 1990 1990 1991 1991 1991 1992 1992 1994 1995 1997 1999 2002

Television and Radio Rubens Through Four Centuries, BBC Third Programme The Ghent Altarpiece, BBC Radiovision Talk A101 (16) Series on British Art, Segment 7, BBC Channel 4 Attitudes to Contemporary Art and Artists, CBC Interviews on CBC, WGBH Intervista sulliconoclastia, RAI documentary Program on Velazquezs Rokeby Venus, BBC2 Interview with Kurt Anderson on Mirror Neurons, Studio 360, PBS Selected Interviews (With Suzanne Ramljak), Sculpture, January-Feburary 1994, pp. 12-16. (With Rosemary Crumlin), in: Beyond Belief: Modern Art and the Religious Imagination, Melbourne: National Gallery of Victoria, 1998, pp. 12-15 (With Dominique Clvenot), Beaux-Arts, January 1999, pp. 40-44. (With Mario Margiocco), Il Sole 24 Ore, July 4, 2003. (With Laura Lazzaroni), Il Foglio, January 25, 2004, p. 2. (With Benedetta Cestelli Guidi), Il Manifesto, June 24, 2004. (With Kurt Andersen), Studio 360, PBS, 2006. (With Catterina Seia), Artkey, April 24, 2010 (http://www.teknemedia.net/magazine_detail.html?mId=7813) 1977 1980 1993 1996 1997 2002 2003 2006

Publications A. Books: Dutch Landscape Prints of the Seventeenth Century, London: British Museum Publications, 1980. Rubens: The Life of Christ after the Passion (Corpus Rubenianum Ludwig Burchard, VII), London: Harvey Miller/Oxford University Press, London and New York, 1984. Iconoclasts and their Motives (Second Horst Gerson Memorial Lecture, University of Groningen), Maarssen: Gary Schwartz, 1985 (reprinted in Public, Toronto, 1993). Iconoclasm and Painting in the Revolt of the Netherlands, 1566-1609, New York: Garland, l988 (reprint, with new Introduction, of 1973 Oxford dissertation) The Prints of Pieter Bruegel the Elder (Exhibition Catalogue with Introduction and Essays), Tokyo: Tokyo Shimbun, 1989. Includes essays by K. Moxey, J. van der Stock and L. Vergara, and catalogue contributions by K. Belkin and B. Huvane. The Power of Images: Studies in the History and Theory of Response, Chicago and London: Chicago University Press, 1989 (paperback, 1991); Spanish translation (Ctedra), 1992; Italian translation (Einaudi), 1993; French translation (Monfort), 1998; Polish translation with new introduction (Jagiellonian University Press, Cracow), 2005; Italian translation, 2nd edition with new prefaces (Einaudi), 2009; Albanian translation, 2011; chapter 1 translated into Hungarian in Atheneum, Budapest, 1994; chapter 13 reprinted in Writings about Art, ed. C. Gold Calo, Englewood Cliffs: Prentice-Hall, 1994; chapter 12 reprinted in Uncontrollable Beauty, ed. Bill Beckley with David Shapiro, New York: Allworth Press, 1998); excerpts from chapters 9 and 12 reprinted in Lives. Gwangju Biennale 2010, Gwangju Biennale Foundation, Gwangju, South Korea, 2010; other chapters reprinted elsewhere. Art in History, History in Art Studies in Seventeenth Century Dutch Culture, ed. by D. Freedberg and J. de Vries, Los Angeles: The Getty Center, 1992. Joseph Kosuth: The Play of the Unmentionable, New York: The New Press, 1992. Peter Paul Rubens. Oil Paintings and Oil Sketches. Catalogue with Essay of an Exhibition at the Gagosian Gallery, New York, 1995.

Citrus Fruit (The Paper Museum of Cassiano dal Pozzo. A Catalogue Raisonn. Drawings and Prints in the Royal Library at Windsor Castle, the British Museum, the Institut de France and other Collections. Series B. Natural History. Part One) (with E. Baldini), London: Harvey Miller, 1997. Fossil Woods and other Geological Specimens. (The Paper Museum of Cassiano dal Pozzo. A Catalogue Raisonn. Drawings and Prints in the Royal Library at Windsor Castle, the British Museum, the Institut de France and other Collections. Series B. Natural History. Part Three) (with Andrew Scott), London: Harvey Miller, 2000. The Eye of the Lynx: Art, Science and Nature in the Age of Galileo. Chicago: University of Chicago Press, 2002; paperback 2003; Italian translation (Bononia University Press), 2007. R.R. Hawkins Prize of the American Association of Publishers for the most distinguished scholarly book of 2002; H.R. Marraro prize of the American Historical Association for Italian History; 2003 Ralph Waldo Emerson Prize of Phi Beta Kappa "for significant contributions to our understanding of the cultural and intellectual condition of humanity". Fungi. (The Paper Museum of Cassiano dal Pozzo. A Catalogue Raisonn. Drawings and Prints in the Royal Library at Windsor Castle, the British Museum, the Institut de France and other Collections. Series B. Natural History. Part Two) (with David Pegler), 3 volumes, London: The Royal Collection in association with Brepols, 2006. B. Articles: "Johannes Molanus on Provocative Paintings," Journal of the Warburg and Courtauld Institutes, XXXIV, 1971, pp. 229-245. "The Representation of Martyrdoms during the Early Counter-Reformation in Antwerp," Burlington Magazine, CXVIII, l976, pp. 128-138. "The Structure of Byzantine and European Iconoclasm," in: A. Bryer and J. Herrin, eds., Iconoclasm, Birmingham, 1977, pp. 165-177. "The Problem of Images in Northern Europe and its Repercussions in the Netherlands," Hafnia. Copenhagen Papers in the History of Art (Proceedings of the 7th International Colloquium in the History of Art), 1976, pp. 25-45 "Rubens and Women," The Sunday Times Magazine, 26 June, 1977, pp. 30-36. "Rubens Through Four Centuries," The Listener, 30 June, 1977, pp. 843-845.

"L'Anne Rubens: Manifestations et publications en 1977, tat de recherches," Revue de l'Art, XXXIX, 1978, pp. 82-94. "A Source for Rubens's Modello of the Assumption and Coronation of the Virgin in Leningrad: A Case Study in the Response to Images," Burlington Magazine, CXX, 1978, pp. 432-441. "Rubens as a Painter of Epitaphs, 1612-1618," Gentse Bijdragen tot de Kunstgeschiedenis, XXIV, 1976-78, pp. 51-71. "The Origins and Development of the Flemish Madonnas in Flower Garlands: Decoration and Devotion," Mnchner Jahrbuch der Bildenden Kunst, XXXII, 1981, pp. 115-150. "The Hidden God: Image and Interdiction in the Netherlands in the Sixteenth Century," Art History, V, 1982, pp. 133-153 (translated into Japanese, in Studies in Western Art, 2001). "Prints and the Status of Images in Flanders," in: H. Zerner, ed., Le Stampe e la diffusione delle Immagini e degli Stili (Atti del XXIV Congresso Internazionale di Storia dell'Arte, 1979, vol. VIII), Bologna, 1983, pp. 39-54. "Fame, Convention and Insight: On the Relevance of Fornenberg and Gerbier," The Ringling Museum of Art Journal, (Papers presented at the International Rubens Symposium, 1982), Sarasota: The Ringling Museum, 1983, pp. 236-259. "Paintings or Prints? Experiens Sillemans and the Origins of the Dutch Grisaille SeaPiece: Notes on a Rediscovered Technique," Print Quarterly, I, l984, pp. 149-168 (with A. Burnstock and A. Phenix). "Charles I, Patronage of," "Rubens and England," and "Gentileschi, Orazio," in: Encyclopedia of British Art, London: Thames and Hudson, 1985, pp. 55, 97, 213-214. "Assessing Response," in: Art in Culture, ed. A. Balis et al., Ghent, 1985, pp. 357-370. Translation of and Commentary on Jan de Bisschop's Introductions to his Paradigmata Graphices and Signorum Veterum Icones, ed. J.G. van Gelder, I.I.E. van Gelder Jost and K. Andrews, Doornspijk: van Coevoerden, 1985. "De Kunst en de Beeldenstorm, 1525-1580. De Noordelijke Nederlanden" / "Art and Iconoclasm, 1525-1580. The Case of the North Netherlands," Introductory essay in [Cat. Exhib.], Kunst voor de Beeldenstorm. Noordnederlandse Kunst 1525-1580, ed. J.P. Filedt Kok et al., Amsterdam: Rijksmuseum, 1986, pp. 39-84.

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"Aertsen, Heemskerck en de crisis van de Kunst in de Nederlanden," Bulletin van het Rijksmuseum, XXXV, 1987, pp. 224-241. "The Problem of Classicism: Ideology and Power," Art Journal, XLVII, No. 1, 1988, pp. 1-6. Introductory essay to volume of the Art Journal devoted to The Problem of Classicism, ed. David Freedberg. "From Hebrew and Gardens to Oranges and Lemons: Giovanni Battista Ferrari and Cassiano dal Pozzo" in: Cassiano dal Pozzo: Atti del Seminario Internazionale di Studi, ed. F. Solinas, Rome: De Luca, 1989, pp. 37-72. "Cassiano dal Pozzo, Natural Historian," and "Cassiano dal Pozzo's Drawings of Citrus Fruits," in: Il Museo Cartaceo di Cassiano dal Pozzo. Cassiano Naturalista, Quaderni Puteani, I, 1989, pp. 10-36. "Cassiano on the Jewish Races of Rome," Quaderni Puteani, 3, II, 1992, pp. 41-56. "Ferrari on the Classification of Oranges and Lemons," in: Documentary Culture. Florence and Rome from Grand-Duke Ferdinand I to Pope Alexander VII. Papers from a Colloquium held at the Villa Spelman, Florence, 1990 (Villa Spelman Colloquia, 3), ed. E. Cropper, G. Perini, and F. Solinas, Bologna, 1992, pp. 287-306 (translated and revised as "Gli Agrumi di Giovanni Battista Ferrari," in: E. Baldini, ed., Mito, arte e scienza nella Pomologia italiana, Roma: Consiglio Nazionale di Ricerca, 2008 ed. E. Baldini, pp. 127-155). "Rubens: Madonna Surrounded by Saints," in: Flemish Paintings in America, AntwerpNew York: Mercatorfonds, 1992. "Kunst und Gegenreformation in den sdlichen Niederlanden, 1560-1660," in: Von Bruegel bis Rubens. Das goldene Jahrhundert der flmischen Malerei, Cologne, WallrafRichartz-Museum/Vienna, Kunst-historisches Museum/Antwerp, Koninklijk Museum voor Schone Kunsten, 1992-1993, pp. 55-71. "Censorship Revisited," Res, 21, 1992, pp. 5-11. "The Movements of the Soul," in: Philip Trager, Dancers, Boston: Bullfinch Press, 1992. "Iconoclasm and Idolatry," in: The Oxford Dictionary of Aesthetics, ed. D.E. Cooper, Oxford: Oxford University Press, 1993. "Van Dyck and Virginio Cesarini: A Contribution to the Study of Van Dyck's Roman Sojourns," Studies in the History of Art, 46, Van Dyck 350, ed. Susan J. Barnes and

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Arthur K. Wheelock, National Gallery of Art, Washington, 1994, pp. 152-174. "Cassiano and the Art of Natural History," in: The Paper Museum of Cassiano dal Pozzo, The British Museum, London, 1993, pp. 141-154. "Painting and the Counter Reformation in the Age of Rubens," in: The Age of Rubens, Museum of Fine Arts, Boston, 1993, pp. 131-146. "Imitation and its Discontents," in: Knstlerischer Austausch/Artistic Exchange. Akten des XVIII. Internationalen Kongresses fr Kunstgeschichte. Berlin, l992, ed. Thos. W. Gaehtgens, Berlin, 1993, pp. 483-491. "The Classical: Concept and Ideology," Brochure accompanying: In a Classical Vein: Works from the Permanent Collection, The Whitney Museum of American Art, New York, 1993-1994. "The Failure of Colour," in: Sight and Insight. Essays on Art and Culture in honour of E.H. Gombrich, ed. John Onians, London: Phaidon, 1994, pp. 245-262. "Context, Visuality, and the Objects of Art History," Art Bulletin, LXXVI, 1994. "Poussin et Sienne," Catalogue Exposition Nicolas Poussin, ed. Pierre Rosenberg et. al., Muse du Louvre, Paris, 1994, pp. 62-68. "Claus Sluter's Mourners," Art News, January, 1995. "Holy Images and Other Images," in: The Art of Interpreting (Papers in Art History from the The Pennsylvania State University), Ed. Susan C. Scott, University Park (Pennsylvania): The Pennsylvania State University, 1996, pp. 68-87. "Ferrari and the Pregnant Lemons of Pietrasanta," in: Il Giardino delle Esperidi. Gli agrumi nella storia, nella letteratura e nell'arte, eds. A. Tagliolini e M. Azzi Visentini, Florence: Edifir, 1996, pp. 41-58. "Poussin, Ferrari, Cortone et l'Aetas Florea," in: Nicolas Poussin (1594-1665). Actes du Colloque Poussin au Muse du Louvre....19-21 octobre 1994, ed. A. Mrot, Paris: La documentation Franaise, 1996, I, pp. 337-362. "Rubens and Titian: Art and Politics," in: Titian and Rubens: Power, Politics, and Style, Boston: Isabella Stewart Gardner Museum, 1998, pp. 29-66. "Iconography between the History of Art and the History of Science: Art, Science and the Case of the Urban Bee," in Peter Galison and Caroline Jones, eds., Picturing Science

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Producing Art, London: Routledge, 1998, pp. 272-296. "The Limits of Translation," Res, XXXIV, Autumn, 1998, pp. 71-75. "Rubens: The Arch of Ferdinand," in: Henry A. Millon, ed. The Triumph of the Baroque, Architecture in Europe 1600-1750, Venice-Washington-Montreal-Marseille, 1999, pp. 528-529. "De l'effet de la musique, aux effets de l'image; ou pourquoi les affetti ne sont pas les modes," in Le Tasse, Actes du Colloque....au Muse du Louvre....13-14 novembre, 1996, Paris: La documentation Franaise, 1999, pp. 311-338. "The Paper Museum," Natural History, 10/99, pp. 58-62. "Les Images dans les Rves," in: Olivier Christin and Dario Gamboni, eds., Crises de l'image religieuse/Krisen religiser Kunst, Paris: ditions de la Maison des sciences de lhomme, 1999, pp. 33-53. "Del nominare i fiori: Ferrari, Poussin e la storia della storia naturale," in: Luciano Morbiato, ed., Quaderno di dieci anni, Gruppo Giardino Storico dell'Universit di Padova, Padua: Universit degli Studi, 2000, pp. 57-84. "The Power of Wood and Stone," (on Taliban destruction of art), The Washington Post, Outlook, Sunday, March 25, 2001, p. B2. "E.H. Gombrich and Erwin Panofsky," in "Speaking Volumes," Art News, November 2002, p. 184. "Apolo, David, Santa Cecilia: musica y pintura en algunas obras de Poussin en el Prado," in: Miguel Zugaza, intr., Historias Immortales, Madrid: Fundacion Amigos del Prado, 2002, pp. 239-260. "Damnatio Memoriae: Why Mobs Pull Down Statues," The Wall Street Journal, April 16, 2003, p. D10. "Against Clich. Glenn Brown and the Possibilities of Painting," in: Glenn Brown, New York: Gagosian Gallery, 2004. "La Danza de aldeanos de Rubens en el Prado," in Historias Mortales. La vida cotidiana en el arte, Madrid, Prado, 2004, pp. 128-142. "Pathos a Oraibi: Ci che Warburg non vide," in: Claudia Cieri Via and Pietro Montani, eds., Lo Sguardo di Giano, Aby Warburg fra tempo e memoria, Turin: Nino Aragno,

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2004, pp. 569-611. "Warburgs Mask: A Study in Idolatry," in: Mariet Westerman, ed. Anthropologies of Art, Williamstown: Clark Institute, 2005, pp. 3-25. "Composition and Emotion," in Mark Turner, ed., The Artful Mind, Oxford: Oxford University Press, 2006, pp. 73-89. "Why Connoisseurship Matters," in: Katlijne van Stighelen, ed., Munuscula Discipulorum: Essays in Honour of Hans Vlieghe, Turnhout: Brepols, 2006. "Empatia, movimento ed emozione," in: G. Lucignani and A. Pinotti, eds., Immagini della Mente. Neuroscienze, arte, filosofia, Milan: Cortina, 2007, pp. 13-68. Freedberg, D. and Gallese, V. 2007. "Motion, Emotion and Empathy in Esthetic Experience," Trends in Cognitive Science, May 2007, Vol. 11, No. 5, pp. 197-203 (translated in Prometeo, 26, 103, 2008, pp. 52-59, and in Teorie dell'immagine. Il dibattito contemporaneo, eds. A. Pinotti and A. Somaini, Milan: Cortina, 2009. Gallese, V. and Freedberg, D., "Mirror and Canonical Neurons are Crucial Elements in Esthetic Response," Trends in Cognitive Science, May 2007, Vol. 11, No. 7, p. 6 (reprinted in Prometeo, 26, 103, 2008, pp. 52-59; and again, with commentary, in A. Pinotti and A. Somaini, eds., Teorie dellimmagine. Il dibattito contemporaneo, Milan: Raffaello Cortina, 2009, pp. 331-351). "Empathy, Motion and Emotion," in: K. Herding and A. Krause Wahl, eds., Wie sich Gefhle Ausdruck verschaffen: Emotionen in Nahsicht, Berlin: Driesen, 2007, pp. 17-51. "Empatia, Movimento ed Emozione" in: Franziska Nori and Martin Steinhoff, eds., Sistemi Emotivi. Artisti contemporanei tra emozione e ragione, Catalogue of an exhibition held at the Centro di Cultura Contemporanea Strozzina Palazzo Strozzi, Florence, 2007, pp. 38-61. "Antropologia e storia dellarte: la fine delle discipline?" Ricerche di Storia dellarte, 94, 2008, pp. 5-18. "C un altro modo di guardare larte" Il Giornale dellArte, No. 281, November 2008, pp. 64-65. "Choirs of Praise: Some Aspects of Action Understanding in Fifteenth Century Painting and Sculpture," in D. Levine and J. Freiberg, eds., Medieval Renaisance Baroque: a Cats Cradle for Marilyn Aronberg Lavin, New York: Italica Press, 2009, pp. 65-81.

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Immagini e risposta emotiva: la prospettiva neuroscientifica", in : Anna Ottani Cavina, ed. Prospettiva Zeri, Turin: Umberto Allemandi & C., 2009, pp. 85-105, Los Retratos de Van Dyck en el Prado: las connexiones espanoles y flamencas, in: La Senda Espanola de los Artistas Flamencas, Fundacion Amigos del Museo del Prado Madrid: Galaxia Gutenberg, 2009, pp. 287-306. Movement, Embodiment, Emotion, in: Th. Dufrenne and A.-C. Taylor, eds., Cannibalismes Disciplinaires, Quand lhistoire de lart et lanthropologie se rencontrent, Paris: INHA/Muse du quai Branly, 2009, pp. 37-61. "Memory in Art: History and the Neuroscience of Response, in: S. Nalbantian, P.M. Matthews and J.L. McClelland eds., The Memory Process: Neuroscientific and Humanistic Perspectives, Cambridge (MA): MIT Press, 2011, pp. 337-358. Battaglia, F., Lisanby, S. and Freedberg, D., "Art, imagination and reality: the cortical motor networks," forthcoming. Arienzo, D., Parra, L.C., Freedberg, D., Christoforou, Zhou, X., Battaglia, F. , "Functional networks underlying motor facilitation during movement observation," forthcoming.

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C.

Reviews of the following: J.A. van Dorsten, The Radical Arts. First Decade of an Elizabethan Renaissance, in Notes and Queries, N.S. XVIII, 1971, pp. 234-236. Th.A.G. Wilberg Vignau-Schuurman, Die emblematischen Elemente im Werke Joris Hoefnagels, in: Burlington Magazine, CXVI, 1974, pp. 337-338. J.R. Martin, The Decorations for the Pompa Introitus Ferdinandi, in: Burlington Magazine, CXVI, 1974, p. 545. B. Knipping, The Iconography of the Counter Reformation in the Netherlands, I-II, 1975, in: Burlington Magazine, CXIX, 1975, p. 45. B. Kirschenbaum, The Religious and Historical Paintings of Jan Steen, and F. Gallego and J. Gudil, Zurbarn, in: The New Review, Summer, 1978, pp. 109-112. P. Sutton, Pieter de Hooch, in: Quarto, 7, June, 1980, p. 4. J.S. Held, The Oil Sketches of Peter Paul Rubens, in Art History, IV, 1981, pp. 484-85. J. Marrow, Passion Iconography in Northern European Art of the Late Middle Ages and Early Renaissance, in: Speculum, LVII, April, 1982, pp. 395-397. J.A. Emmens, Verzameld Werk, 4 vols., 1979-81, in: Simiolus, XIII, 1983, pp. 142-146 (review-article). R.A. d'Hulst, Jacob Jordaens, 1983, in: Times Literary Supplement, no. 4193, 1983, p. 863. R. Grosshans, Maerten van Heemskerck. Die Gemlde, in: Burlington Magazine, CXXVI, 1984, pp. 298-300. K. Ertz, Jan Brueghel der ltere. Die Gemlde, in: Burlington Magazine, CXXVI, 1984, pp. 575-77. B. Haak, The Golden Age: Dutch Painters of the Seventeenth Century, and C. Brown, Scenes of Everyday Life: Dutch Genre Painting of the Seventeenth Century, in: Times Literary Supplement, 4277, 22 March, 1985, p. 313. S. Alpers, Rembrandt's Enterprise: The Studio and the Market, in: The New York Review of Books, XXXV, No. 21-22, January 19, 1989, pp. 29-31.

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S. Schama, Rembrandt's Eyes, in: The New Republic, December 6, 1999, pp. 44-52. D. Selected Lectures since 2002: "Apollo, David, St Cecilia: Poussin and Music," Museo del Prado, Madrid, 26 January, 2002. "Apollo, David, St Cecilia: Poussin and Music," Fundacin Pedro Barri de la Maza, La Corua, 28 January, 2002. "Pathos at Oraibi: What Warburg did not See," Institute of Fine Arts, New York. "Laocoon and Kachina: Warburg and Photography," Edward Surtz Memorial Lecture, Loyola University Chicago. "Warburgs Mask: A Study in Idolatry," Zentrum fur Kunst und Mediengeschichte, Karlsruhe, July 2002. "Warburg and the Pueblo," Berlin, Wissenschaftskolleg, December 2002. Response to Tim Clarks Tanner Lectures on Poussin and Bruegel, Princeton University, April 2003. "Locchio della lince: Il contributo della prima Accademia dei lincei alla storia naturale moderna," Rome Accademia dei Lincei, May 2003. "The Early Lincei and the Inquisition," Keynote address, I Primi Lincei e Il SantUffizio: Questioni di Scienza e di Fede, Rome, Accademia dei Lincei, 12 June 2003. "Poussin, La Danza, e le sculture della Villa Borghese," Rome, Villa Borghese, June 2003. "The Failure of Pictures: From Description to Diagram in the Circle of Galileo," Vienna, Konrad Lorenz-Institut, December 2003. "Emotion, Art and the Brain: The Historical Background," Keynote Speaker, 3rd Annual Neurosciences Conference, Berkeley, 10 January, 2004. "Rubens Peasant Dance," Museo del Prado, Madrid, 3 February, 2004. "Rubens Peasant Dance," Museo de Bellas Artes, Bilbao, 4 February, 2004.

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"Emotion and Brain in the History of Art," Allen Lectures, Northern Illinois State University, 14 February, 2004. "Art, Emotion and the Brain: New Approaches," Acadmie de France a Rome, Villa Medici (Rencontres lhistoire de lart et les sciences humaines et sociales: Histoire de lart et anthropologie), Tuesday May 25, 2004. "Pictures and Collecting in the circle of the early Lincei," University of Bologna, Ravenna (Natural History Collections and Museums, European Science Foundation Conference), June 19, 2004. "Empathy, Motion and Emotion in the History of Art," Stanford University, December 10, 2004. "Warburg and the Snake Dance," Case Western Reserve University, March 3, 2005. "Antropologia e Storia dellarte: Il fine delle discipline?" Universit di Roma, "La Sapienza," May 6, 2005. "Geografia e Storia dellArte," cole de Printemps, Scuola Normale Superiore, Pisa, May 9, 2005. "Why Connoisseurship Matters," Keynote Address, Symposium in Honor of Hans Vlieghe, University of Louvain, May 13, 2005. "Action, Emotion and Empathy," New York Academy of Sciences, November 5, 2005. "Choirs of Praise," Institute of Fine Arts, Symposium in Honor of Marilyn Lavin, November 12, 2005. "Galileo and the Picturing of Nature: A Forgotten Chapter in the History of Science," Emory University, February 8, 2006. "Naming the Visible: Galileo, Foucault, and the Beginning of Modern Natural History," University of Georgia, Athens, Georgia, April 13, 2006. "Pictures of Torture: The Neural Substrate," Humboldt University, Berlin, April 28, 2006. "The Failure of Trust: Francesco Barberini and the Early Linceans," Clark Center, University of California at Los Angeles, May 12, 2006. "Motion, Emotion and Empathy in the History of Art," University of Parma, June 4, 2006

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"Galileo e i Primi Lincei," The Galileo Lecture, University of Padua, June 9, 2006. "Perch Galileo non fece disegni microscopici," University of Pisa, September 29, 2006. "Violence, the Sacred, and the Hidden God: Religious Art in the Twentieth Century," Fordham University/Museum of Biblical Art, January 26, 2007. The Ostrow Lectures, Reed College, Portland Oregon, February 19-23, 2007. "Movement, Embodiment, Emotion: On the Borders of Anthropology and the History of Art," Keynote Address at the International Conference on Art History and Anthropology, INHA/Musee du Quai Branly, Paris, June 21, 2007. "Movement and Morality in the Renaissance: Botticelli, Dante, Savonarola," The National Gallery, London, November 17, 2007. "Emotion, Body and Brain," Forum on Intellectual Unity, Tokyo, December 8, 2007. "Poussins Roads," Metropolitan Museum of Art, April 6, 2008. "Art History and Neuroscience," Yale University, April 23, 2008. "The Body in Motion: Art, Anthropology and Neuroscience," Deans Distinguished Lecture, Columbia Medical School, April 29, 2008. "The Body in Movement: Art and Neuroscience," Duke University, May 7, 2008. "Immagini e risposte emotive: le dimensioni neuroscientifiche," Bologna University, Keynote Address at Inauguration of Fondazione Zeri, October 10, 2008. "Painting in Antwerp, 1566-1585: New Material," Keynote Address at Conference on Painting after Iconoclasm, University of Amsterdam, December 3, 2008. "Los retratos de Van Dyck en el Museo del Prado: las conexiones espaolas y flamencas," Museo del Prado, February 3, 2009. "Movement and Emotion in the History of Art: The Neuroscientific Dimension," Bibliotheca HertzianaMax Planck Institut, February 23, 2009. "Movement and Morality in the Renaissance," Josephine Waters Bennett Lecture of the Renaissance Society of America, Los Angeles, March 20, 2009.

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"Galileo, Astronomia e Scienza Naturali," Giornata Lincea in occasione del IV centenario delle scoperte di Galileo Galilei Linceo, Accademia Nazionale dei Lincei, April 6, 2009. "Distinguishing between life, art and bad art: Cortical modulations of motor responses," University of Parma, Department of Neuroscience, April 27, 2009. "Movement and Emotion in the History of Art: The Neuroscientific Dimension," BerlinBrandenburgische Akademie der Wissenschaften, May 7, 2009. "The Painter without Hands," Humboldt-Universitt, Berlin, November 6, 2009. "Painting and the Other Side of Consciousness," Zentrum fr Literaturgeschichte, Berlin, November 20, 2009. Art after Iconoclasm: the case of Antwerp during the early Revolt of the Netherlands, Freie-Universitt, Berlin, December 6, 2009. From Description to Diagram in the Circle of Galileo, Turin, Accademia delle Scienze, December 9, 2009. Art and Neuroscience, Biblioteca Nazionale, Turin, December 10, 2009. Motion and Emotion in the History of Images Princeton University, Department of Psychology, March 10, 2010 The Painter without Hands: Art and Neuroscience, Bruce Museum, Greenwich, March 24, 2010. Il pittore senza braccia: visione ed azione, Montepulciano, International Association for Art and Psychology, Montepulciano, June 19, 2010. Art after Iconoclasm: Painting in Antwerp between 1566 and 1609, Nationalmuseum, Stockholm, September 7, 2010. Art and Neuroscience, University of Stockholm, September 8, 2010. Fotografia e Tortura, Noto, Convegno La Fotografia come modo di conoscenza, Facolt di scienza della formazione, Palazzo Giavanti, Keynote Address, October 7, 2010 Il pittore senza mani: visione ed azione, Seminario Facolt di scienze cognitive, Universit di Messina, October 10, 2010

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Galileo e gli inizi della storia naturale moderna, Lectio magistralis, Universit di Messina, October 11, 2010. E. Books in Progress: Anaxagoras: An Essay on the History of Classification Modes of Seeing: Mind, Body and Emotion in the History of Art On the Dance and Architecture of the Pueblo Peoples F. Current Projects: Art and Neuroscience Founded the Art and Neuroscience Project at the Italian Academy for Advanced Studies in America in 2001. Initiated program enabling post-doctoral Fellows at the Academy to work in neuroscientific laboratories at Columbia. Organized major conferences at the Italian Academy on Art and the New Biology of Mind (March 24, 2006), Art and Vision Science (June 13, 2006), Mirror Neurons, Embodied Simulation and Aesthetic Experience (April 24, 2007), and Vision, Attention and Emotion (March 25, 2008). G. Dissertations sponsored or cosponsored: 52 completed; 12 current (separate list available)