Claudia Bolgia’s primary research area is medieval Italian Art and Architecture, with a special focus on Rome (as both a ‘place’ and an ‘idea’) in its historical and intellectual context. She is the co-editor of Rome across Time and Space, Cultural Transmission and the Exchange of Ideas, c. 500-1400 (Cambridge, 2011). She is presently completing a book on S. Maria in Aracoeli and the Franciscans in Rome (c.1250–1450).
Alain George has recently been awarded the Leverhume Prize and is on a two-year research leave. He is the author of The Rise of Islamic Calligraphy (London, 2010). His interests include the relationship between illustrated Arabic manuscripts of the 13th century, orality, performance and the shadow play. He is currently preparing a historical study of the Great Mosque of Damascus in Umayyad times.
Mattia Guidetti has a teaching fellowship in Islamic art. Among his favourite themes of teaching and research are: the medieval Mediterranean, the interactions between Christian and Islamic art, and the rise of early Islamic art and architecture in Syria and Palestine. He is currently working on a monograph tentatively entitled “Churches and Mosques in Early medieval Syria”.
Heather Pulliam’s primary research area is the visual culture of the Britain and Ireland (500-900) and related continental artworks from this period. Current projects include studies of early Insular depictions of the Virgin Mary, the portrayal of learning, and the relationship between semiotics and colour in Insular and Carolingian manuscripts. She is the author of Word and Image in the Book of Kells (Dublin: 2006).
Tom Tolley specialises in Western European visual culture of the later Middle Ages, notably French illuminated manuscripts and Netherlandish painting. His current work investigates the practices of looking and the history of vision in late medieval France. Tom also works on later material and is the author of Painting the Canon’s Roar: Music, the Visual Arts and the Rise of an Attentive Public in the Age of Haydn, c. 1750 to c. 1810, (Ashgate, 2001).
Chia-ling Yang’s principal research focus is onChinese painting and calligraphy. She is currently working on the interpretation of ancient visual objects in the late Qing period and how the Antiquarian movement contributed to the formation of modern culture and art historiography in China. She is the author of New Wine in Old Bottles – Art of Ren Bonian in Nineteenth-Century Shanghai (2007) and Classical Chinese Art: Selected Catalogue of the Paintings and Calligraphy, Wou Lien-Pai Museum (2011).