Alexandra Blanc first co-founded the network in 2013 and then the association of Ars Graphica in 2017. As the president, she coordinates Ars Graphica events, together with Ludovica Tiberti, as well as the various satellites. Alexandra completed a MA in Museum Studies at the University of Neuchâtel (Switzerland, 2011). She was a museum assistant at the Cabinet d’arts graphiques of Geneva; she was also an intern at the Kupferstichkabinett in Berlin and in the drawing department at the Harvard Art Museums in Cambridge (MA). In 2017 she defended her PhD on the perception of Giovanni Benedetto Castiglione's prints from the artist's as well as the connoisseurs' points of view, dealing with questions about 17th-century experiments in printmaking, perceptions and collecting practices. Currently based in Rome, she is now a Postdoctoral Fellow of the Swiss National Science Foundation working on the catalogue raisonné of Castiglione's prints.
Ludovica Tiberti is the Vice-President of Ars Graphica; she coordinates the events of Ars Graphica as well as the sponsoring and membership of the association. She studied Art History at the Università degli studi di Roma Tre. She is specialized in 16th and 17th-century Romam printmaking and print market.After her degree dedicated to rediscovering the figure of Giovanni Maggi, she held several internships and acquired training experience at the Istituto Centrale per la Grafica (2006-2009) and in the Biblioteca Nazionale Centrale di Roma (2011-2016). In 2010 she won a research grant at the Università degli Studi di Roma Tre with a project entitled 'The Engravings in Rome between 1500-1600' and several scholarships at the Accademia Nazionale di San Luca (2010/2011-2012/2013) and at the Fondazione di Studi di Storia dell’Arte Roberto Longhi (2014/2015).
Bryony Bartlett-Rawlings worked as Assistant Curator of Paintings and Drawings (2007-12) and Assistant Curator on the Engraved Ornament Project (2012-13) at the Victoria and Albert Museum. She has also worked as Print Room Assistant at the Courtauld Institute. She is currently finishing her PhD at the Courtauld Institute which looks at the prints of Nicoletto da Modena and his contemporaries at the turn of the sixteenth century. Bryony is currently co-editing a publication of selected essays from the conference ‘Placing Prints: New Developments in the Study of Print 1400-1800’ which she co-organised in 2016 at the Courtauld Institute in collaboration with the journal Print Quarterly.
ag Dutch & Flemish
Elisabeth lives in Diest (BE) and works as a cataloguer of prints at M Leuven. She also works as an academic researcher for the Van Eyck exhibition (2020) in the Museum of Fine Arts in Ghent. Until March 2019 she worked as a cataloguer of French prints for the PK Online project of the Rijksmuseum in Amsterdam.
Aude Briau studied art history and museology at the Ecole du Louvre and Heidelberg University. As her main interest is the reception of artists from the 15th and 16th centuries, she contributed to various exhibitions, such as The Botticelli-Renaissance (Berlin Gemäldegalerie / London V&A, 2015), Otto Dix – le Retable d’Issenheim (Colmar, Musée Unterlinden, 2016), The World of Bruegel in black and white, (Brussels, KBR, 2019). As of 2020 she began a PhD at the Ecole Pratique des Hautes Etudes in Paris, her thesis focuses on the influence of Martin Schongauer’s prints in the graphic arts around 1500. From 2017 to 2019 she volunteered as a printer at the Chalcography in Brussels (KBR), and since 2020 she is an active contributor to the « Projet Gravure » on French Wikipedia.
Victoria Fleury is a doctoral candidate in the PhD program ‘Media History of Arts’ at the University of Zurich. After completing her Master of Arts in Art History and History with a thesis on Monet’s sketchbooks, her research focuses on the role of graphic reproductions in the reception of Claude Monet’s paintings. She specializes in drawings and photography in the 19th and 20th centuries, in artists of the ‘Fin de siècle’, as well as in the topics of memory, archival practices and challenges brought by new technologies. She was a collection assistant at the contemporary art museum Kunst(Zeug)Haus in Switzerland from 2017 to 2018, where she curated two exhibitions (‘Fokus: Alexander Hahn’, ‘Collection Alphabet. Ten years Kunst(Zeug)Haus’). She is currently consulting curator for the private collection SØR Rusche Sammlung Oelde/Berlin.
Magdalena Herman is a PhD candidate in the Department of History at the University of Warsaw, where she previously gained an MA in the History of Art (2014). Her doctoral research focuses on Jan Ponętowski's print collection which was assembled in the second half of 16th century.
In 2016 she joined the National Science Centre founded project Reframed Image: Reception of Prints in the Kingdom of Poland from the end of the fifteenth to the beginning of the seventeenth century. Objects-People-Milieux-Processes to pursue her interests on the influence of Netherlandish prints on illustrated books published in Cracow in the late 16th and the early 17th century.
Weronika is a deputy editor-in-chief of the international journal entitled ‘Daguerreotype. Studies in the history and theory of photography’. Her doctoral research – on which she is working in the Department of History at the University of Warsaw – is devoted to the problem of defining the term avant-garde in the context of Polish photography. She holds a MA in art history along with the diploma from the studies at the Association of Polish Art Photographers. In 2015 she started her carrier as a lecturer at the Institute of Art History of the University of Warsaw. Zachęta – National Gallery of Art has recently published her book about Polish National Photography Exhibitions (1952–1962).
Blanche Llaurens is a PhD candidate in Art History at the University of Poitiers. After completing her studies in Sorbonne University and at the Ecole du Louvre, she is currently undertaking a doctoral research on the Parisian print market and its links with the Low Countries during the first half on the seventeenth century. In 2016, she has been awarded the Michael Bromberg Fellowship in the Prints and Drawings department at the British Museum. From September 2016 until September 2017, she assisted Emmanuelle Brugerolles, curator of drawings at the Ecole des Beaux-Arts de Paris in the Cabinet Jean Bonna on various exhibition projects. She has been awarded the Prix d’Amsterdam in 2017 and is currently a guest researcher at the University of Amsterdam.
Hannah Lyons is currently writing her doctoral thesis entitled 'Making an Impression: British Women Printmakers in the Long Eighteenth Century'. This is a collaborative project with Birkbeck College, University of London and the Victoria and Albert Museum. The project aims to examine the role, status and output of women printmakers in this period, with a particular focus on the prints in the V&A's collection. Prior to this she was working as the Curatorial Assistant at Christ Church Picture Gallery, University of Oxford and before this as Assistant Curator at Tate Britain.
Marte Sophie Meessen
Marte Sophie Meessen holds a research M.A. degree in art history from Utrecht University. During her B.A. she focused on (book)illustration. Throughout her studies she used interdisciplinary frameworks to study sixteenth and seventeenth century visual culture. An internship at the Ashmolean Museum in Oxford further enhanced her enthusiasm for prints and drawings. Since 2018 she has been working as a cataloguer of European prints for the project Prentenkabinet Online at the Rijksmuseum Amsterdam.
Iris Louwersheimer finished her research MA 'Arts of the Netherlands' at the University of Amsterdam in 2018. She graduated with a thesis on the news print production of the 17th and 18th century publisher family Allard. Since then, she has been working as a European print cataloguer for the prentenkabinet online project at the Rijksmuseum. During her BA and MA she was an intern at the Amsterdam Museum and the Rijksprentenkabinet.
Ilaria Sferrazza obtained a laurea magistrale in Modern Art at the Università degli Studi Roma Tre, focusing in particular on the study of drawing and engraving between the Sixteenth and Seventeenth centuries. She was a scholarship holder at the Accademia di San Luca and did an internship and a collaboration at the Istituto Centrale per la Grafica. She participated in a research on Palazzi di Rome in Fifteenth century just published in a special volume of the Bollettino d’Arte. She just accomplished a PhD in Storia, territorio e patrimonio culturale at the Università degli Studi Roma Tre with a thesis on the cultural and artistic policies of the Caetani family between the Eighteenth and Nineteenth centuries.
Laurien van der werf
AG Dutch & flemish
Laurien van der Werff studied cultural history at the University of Amsterdam and specialized in the seventeenth century. She has a fascination for everything that makes history lively – especially prints, handwritten documents and objects. She is currently working as an academic researcher for the project Prentenkabinet Online at the Rijksmuseum and is also involved in two projects of the Amsterdam City Archives that are concerned with the indexing and transcribing of the notarial archives.
Sabrina Pasquale graduated in Sciences of Cultural Heritage at the University of Rome Tor Vergata. The subject of her thesis was on Rogier Van der Weyden, specifically on "The Justice of Trajan and Herkinbald, iconographic reconstruction of a work lost through the tapestry of Bern, drawings and literary sources".
In 2011 she collaborated with the lecturer Carmelo Occhipinti in the transcription and care of the text "Bellincioni, sul ritratto di Cecilia Gallerani" in the book "Fointainebleau e la fama di Leonardo da Vinci". In 2014 she was library assistant at the IRIAD, the Institute for International Research, the Archive of Disarmament of Rome. Currently, she is registered in the faculty of Art History. Today she has the opportunity to collaborates with the artist Valerio Villani as curator and promoter.