Books

With Carl Brandon Strehlke. The Bernard and Mary Berenson Collection of European Paintings at I Tatti. Florence: Villa I Tatti, the Harvard University Center for Italian Renaissance Studies and Milan: Officina Libraria, 2015.

Sassetta’s Madonna della Neve: An Image of Patronage. Leiden: Primavera Press, 2003.

Edited volumes

Sassetta: The Borgo San Sepolcro Altarpiece, 2 vols. Florence: Villa I Tatti, the Harvard University Center for Italian Renaissance Studies and Leiden: Primavera Press, 2009.

With Louis A. Waldman. Renaissance Studies in Honor of Joseph Connors, 2 vols. Florence: Villa I Tatti, the Harvard University Center for Italian Renaissance Studies, 2013.

Articles and essays

“Mrs. Berenson, Mrs. Gardner, and Miss Toplady: Connoisseurship, Collecting, and Commerce in London (1899–1905)”, Visual Resources, special issue, Meaghan Clarke and Francesco Ventrella eds., forthcoming.

With Joseph Connors. “Borromini in Siena”. The Burlington Magazine, CLVIII, 2016, pp. 702–14.

“Franciscus in de vroege Italiaanse kunst”, in Frank Bosman, Kees van Dooren, Gerard Pieter Freeman et al. Franciscus van Assisi. Exh. cat. Utrecht, Catharijneconvent, 5 March – 5 June 2016. Utrecht: Catharijneconvent and Zwolle: WBooks, 2016, pp. 65–93.

“The Berensons ‘Connosh’ and Collect Sienese Painting”, in Carl Brandon Strehlke and Machtelt Brüggen Israëls. The Bernard and Mary Berenson Collection of European Paintings at I Tatti. Florence: Villa I Tatti, the Harvard University Center for Italian Renaissance Studies and Milan: Officina Libraria, 2015, pp. 46–69.

“A Promise Long Kept: Rutilio Manetti for Lucrezia Ballati, 1538–1621”, in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Israëls and Louis A. Waldman. Florence: Villa I Tatti, the Harvard University Center for Italian Renaissance Studies, 2013, vol. I, pp. 552–62, 936–38.

“Piero della Francesca’s Panel Paintings for Borgo San Sepolcro”, in Piero della Francesca in America: From Sansepolcro to the East Coast. Exh. cat. New York, The Frick Collection, 12 February – 19 May 2013. New York: The Frick Collection, 2013, pp. 47–67.

“Sculptured Painting in Early Renaissance Florence”, in La primavera del Rinascimento. La scultura e le arti a Firenze, 1400–1460, ed. Beatrice Paolozzi Strozzi and Marc Bormand. Exh. cat. Florence, Palazzo Strozzi, 21 March – 18 August 2013 and Paris, Musée du Louvre, 23 September – 6 January 2014. Florence: Mandragora, 2013.

“Commissioni parallele e narrazioni insolite. Piero della Francesca ed il Sassetta a Borgo San Sepolcro”, in Ripensando Piero della Francesca. Il Polittico della Misericordia di Sansepolcro: storia, studi e indagini tecnico-scientifiche, ed. Mariangela Betti, Cecilia Frosinini, and Paola Refice. Florence: Edifir, 2012, pp. 99–116.

“La decorazione pittorica dell’Antiporto di Camollia, di Porta Romana e di Porta Pispini a Siena”, in Fortificare con arte. Mura, porte e fortezze di Siena nella storia, ed. Ettore Pellegrini. Siena: Betti, 2012, pp. 200–219.

“Lodovico di Luca pittore ornatista del primo Rinascimento senese”, in Sano di Pietro. Qualità, devozione e pratica nella pittura senese del Quattrocento, ed. Gabriele Fattorini, Alessandro Angelini, Annamaria Guiducci, and Wolfgang Loseries. Acts of the conference, Siena and Asciano, 5–6 December 2005. Cinisello Balsamo: Silvana, 2012, pp. 95–127.

“Sodoma at Porta Pispini and the Pictorial Decoration of Sienese City Gates”, in Art as Politics in Late Medieval and Renaissance Siena, ed. Judith B. Steinhoff and Timothy Smith. Burlington: Ashgate, 2012, pp. 195–220.

“The Berensons, Photography, and the Discovery of Sassetta”, in Photo Archives and the Photographic Memory of Art History, ed. Costanza Caraffa. Munich: Deutscher Kunstverlag, 2011, pp. 157–68.

“Sassetta and the Guglielmi Piccolomini Altarpiece in Siena”, The Burlington Magazine, CLII, 2010, pp. 162–71.

“Painting for a Preacher: Sassetta and Bernardino da Siena”, in Sassetta: The Borgo San Sepolcro Altarpiece, ed. Machtelt Israëls, 2 vols. Florence and Leiden: Villa I Tatti, the Harvard University Center for Italian Renaissance Studies and Primavera Press, 2009, vol. I, pp. 121–39.

“Polyptychs without Painting: Sassetta, Piero della Francesca, and the Rejection of Unpainted Altarpieces”, in Sassetta: The Borgo San Sepolcro Altarpiece, ed. Machtelt Israëls, 2 vols. Florence and Leiden: Villa I Tatti, the Harvard University Center for Italian Renaissance Studies and Primavera Press, 2009, vol. I, pp. 243–53.

(Lead author) “The Reconstruction of Sassetta’s Borgo San Sepolcro Altarpiece”, in Sassetta: The Borgo San Sepolcro Altarpiece, ed. Machtelt Israëls, 2 vols. Florence and Leiden: Villa I Tatti, the Harvard University Center for Italian Renaissance Studies and Primavera Press, 2009, vol. I, pp. 161–209.

“Al cospetto della città. Sodoma a Porta Pispini e la tradizione pittorica delle porte urbiche di Siena”, in L’ultimo secolo della repubblica di Siena. Arti, cultura e società, ed. Mario Ascheri, Gianni Mazzoni, and Fabrizio Nevola. Acts of the conference, Siena 28–30 September 2003 and 16–18 September 2004. Siena: Accademia Senese degli Intronati, 2008, pp. 367–89.

“An Angel at Huis Bergh: Clues to the Structure and Function of Duccio’s Maestà”, in Voyages of Discovery in the Collections of Huis Bergh, ed. Anneke de Vries. ’s Heerenberg: Stichting Huis Bergh, 2008, pp. 122–33, 175–80.

 “L’Assunzione del Sassetta e la fortuna rinascimentale del Trecento: un caso senese?”, in La Presenza del Passato: Political Ideas e modelli culturali nella storia e nell’arte senese. Acts of the conference, Siena, 4 and 5 May 2007. Siena: Cantagalli, 2008, pp. 225–38.

 “Absence and Resemblance: Early Images of Bernardino da Siena and the Issue of Portraiture (With a New Proposal for Sassetta)”, I Tatti Studies, XI, 2007, pp. 77–114.

“Altars on the Street: The Wool Guild, the Carmelites and the Feast of Corpus Domini in Siena (1356–1456)”, Renaissance Studies, XX, 2006, pp. 180–200.

“Un segno di alleanza. La Natività della Vergine del Maestro dell’Osservanza (1437–1439)”, in Capolavori ritrovati in terra di Siena. Itinerari d’autunno nei Musei Senesi, ed. Luciano Bellosi, Gabriele Fattorini, and Giulio Paolucci. Exh. cat. Musei Senesi 2005–2006. Cinisello Balsamo: Silvana, 2005, pp. 16–27.

“Sassetta, Fra Angelico and their Patrons at S. Domenico, Cortona”, The Burlington Magazine, CXLV, 2003, pp. 760–76.

“Sassetta’s Arte della Lana Altar-piece and the Cult of Corpus Domini in Siena”, The Burlington Magazine, CXLIII, 2001, pp. 532–43.

“New Documents for Sassetta and Sano di Pietro at the Porta Romana, Siena”, The Burlington Magazine, CXL, 1998, pp. 436–44.

“Job en een muzikant en De terugkeer van de verloren zoon van Cornelis Matsys. Een transformatie natuurwetenschappelijk onderzocht”, Bulletin van het Rijksmuseum, CLIII, 1995, pp. 113–34.

Entries and forewords

With Carl Brandon Strehlke, “Foreword”, in The Letters of Bernard Berenson and Isabella Stewart Gardner, 1887–1924: With Correspondence by Mary Berenson, ed. Rollin van N. Hadley. Boston, Isabella Stewart Gardner Museum, 2016, pp. xi–xix.

“Sano di Pietro: Madonna con Bambino e i santi Bernardino e Vincenzo Ferrer”, in Andrea De Marchi and Gabriele Fattorini eds. La collezione Salini: addenda pittura e scultura (secoli 14. – 16.). Florence: Magaza, 2015, pp. 86–93.

On Benvenuto di Giovanni, Bartolomeo Bulgarini, Gentile da Fabriano, Girolamo di Benvenuto, Pietro Lorenzetti (attr.), Matteo di Giovanni, Lippo and Tederigo Memmi (attr.), Niccolò di Segna, Sano di Pietro, Sassetta, Ugolino di Nerio, and Gaetano Bianchi (Plates 10, 20, 21, 22, 38, 39, 46, 54, 65, 67, 69, 80, 91, 92, 93, 94, 101, 111; including biographies) in Carl Brandon Strehlke and Machtelt Brüggen Israëls. The Bernard and Mary Berenson Collection of European Paintings at I Tatti. Florence: Villa I Tatti, the Harvard University Center for Italian Renaissance Studies and Milan: Officina Libraria, 2015.

On Andrea del Castagno and Francesco d’Antonio (IV.10, VI.9.a-d, VII.9), in La primavera del Rinascimento. La scultura e le arti a Firenze, 1400–1460, ed. Beatrice Paolozzi Strozzi and Marc Bormand. Exh. cat. Florence, Palazzo Strozzi, 21 March – 18 August 2013 and Paris, Musée du Louvre, 23 September – 6 January 2014. Florence: Mandragora, 2013.

On Sassetta and the Osservanza Master (B.3, C.17, C.18, C. 19, C.20, C.21, C.27, C.28, C.29, C.30, C.33), in Da Jacopo della Quercia a Donatello. Le arti a Siena nel primo Rinascimento, ed. Max Seidel et al. Exh. cat. Siena, Santa Maria della Scala, Opera della Metropolitana, Pinacoteca Nazionale, 26 March – 11 July 2010. Milan: Federico Motta, 2010, pp. 152–53, 222–31, 232–33, 234–35, 236–37, 238–39, 250–51, 252–53, 254–55, 256–57, 263–66.