Studies in Iconography, Volume 38 (2017) (Studies in Iconography Journal)

Kirk Ambrose is professor and chair of the department of Art and Art History at the University of Colorado Boulder. He is author of The Nave Sculpture of Vézelay: The Art of Monastic Viewing (2006) and The Marvellous and the Monstrous in the Sculpture of Twelfth-Century Europe (2013), as well as many book chapters and journal articles, including in The Art Bulletin, Gesta, Nineteenth-Century Art Worldwide, Studies in Iconography, Traditio, and Word & Image. Along with Robert A. Maxwell, he edited and translated Current Directions of Romanesque Sculpture Studies (2010). His current projects include a documentary and exhibition catalogue on women artists in Colorado in the early twentieth century. He has served as Editor-in- Chief of The Art Bulletin.

Kim Butler Wingfield is Associate Professor and Director of the Art History Program at American University. She researches text-image relationships in Italian Renaissance painting with a specific focus on humanist, religious, and gendered contexts. Dr. Butler Wingfield's articles have explored Raphael's artistic relationship with his father Giovanni Santi, the antiquarianism of Raphael's art at the court of Pope Leo X, and the iconography of the Sistine Chapel in relation to the theological erudition of Sixtus IV. Her first book Raphael's Madonnas: From Poetry to Thievery (2017), analyzes the sacred poetics of the Madonna paintings that spanned Raphael's career. Her current research considers the dialogue between Della Rovere commissions at the Vatican, including Pollaiuolo's Tomb of Sixtus IV, the ceiling and lower wall frescoes of the Sistine Chapel, and the Stanza della Segnatura, with a particular interest in the epistemology of sacred bodies.

Robert Couzin earned AB (1967) and AM (1968) degrees from the University of Chicago and a BCL (1972) from the McGill University Faculty of Law. After practicing law for several decades, he enrolled in the graduate Department of Art History at the University of Toronto in 2006, receiving his PhD in 2013 (Dissertation: "Death in a New Key: The Christian Turn of Roman Sarcophagi.") In his new career as an independent scholar, he has published an article examining fourth-century Christian funerary demographics (in JRA), a monograph on the traditio legis (with Archaeopress), and is working on a book chapter analyzing the conception and classification of "early Christian art." Other current projects include aspects of laterality in Roman, late antique and medieval art.

Cyril Gerbron, former fellow of Villa I Tatti - The Harvard University Center for Italian Renaissance Studies, is a teaching assistant at the Université Lumière Lyon 2. He is the author of Fra Angelico. Liturgie et mémoire (Turnhout, 2016) and of several articles on fifteenth century Italian painting, Callisto Piazza, Vasari or Juan Sánchez Cotán. He has co-edited the volume Penser l'étrangeté. L'histoire de l'art de la Renaissance italienne entre bizarrerie, extravagance et singularité (Rennes, 2012). His current research concerns the representation and uses of stones in Italian Renaissance art.

Gerald B. Guest is a professor of art history at John Carroll University in Cleveland, Ohio. His scholarly work is principally concerned with the figural arts of Gothic France and has appeared in Speculum, Studies in Iconography, and the Journal of Glass Studies, among other venues. At present he is working on a study of thirteenth-century narrative stained glass and its implications for an understanding of cultural geography in the central Middle Ages.