RICCIONI Stefano

Qualifica
Professore Associato
Telefono
041 234 7254
E-mail
stefano.riccioni@unive.it
SSD
STORIA DELL'ARTE MEDIEVALE [L-ART/01]
Sito web
www.unive.it/persone/stefano.riccioni (scheda personale)
Struttura
Dipartimento di Filosofia e Beni Culturali
Sito web struttura: https://www.unive.it/dip.fbc
Sede: Malcanton Marcorà
Research Institute
Research Institute for Digital and Cultural Heritage

Stefano Riccioni has an M.A. in Humanities (Art History) with a thesis on Medieval art history (University of Florence), a Diploma in Archive Studies, Palaeography and Diplomatics (State Archives of Rome), and a PhD in Art History with a thesis on Medieval art history (La Sapienza University of Rome), and was awarded the Licence in Mediaeval Studies (Pontifical Institute of Mediaeval Studies of Toronto). He hold fellowships  from various Italian and foreign research institutions including the Ecole Française de Rome, the Pontifical Institute of Mediaeval Studies of Toronto and The Getty Foundation of Los Angeles, and was assistant professor at the Scuola Normale Superiore of Pisa. He is currently Associate Professor of History of Medieval Art at the University Ca’ Foscari of Venice, visiting scholar at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut, and chercheur associé (associate researcher) at the CNRS, UMR 5594 - ARTeHIS (CEM Auxerre and University of Dijon).

He is currently partner of the ANR project MANACORALE, investigating the monastic archaeological site and related art production in the Adriatic area.

Stefano Riccioni’s main research interests are in Medieval Art History, Medieval Epigraphy and the Mediterranean area as a centre of cultural exchange between East and West. His interdisciplinary approach aims to focus on iconographic and iconological investigation, the reception of works of art, their audience and patrons. Major topics include: relationships between text, script and image in visual arts related to their space and environment and a methodological proposal called “Epiconography” which aims to consider the inscribed monument as a “complex visual discourse”, a linguistic unit created according to its public (or private) exhibition. His most influent scientific contributions deal with case studies linked to these major topics: theory and artistic and graphic production during the Church Reform (11th-12th cent.) in Rome and Europe; signatures of medieval artists as an insight into their literacy and ‘culture’; History of Art and conservation of Cultural Heritage in Armenia and Subcaucasia; visual representations of animals (monumental Bestiary); artistic production in Venice and the Adriatic area (9th-14th century); relationships between publishing, exhibitions and museums.