Curator Judith Mann awarded fellowship at American Academy in Rome

By | February 18, 2015
Judith W. Mann

Judith W. Mann

The Association of Art Museum Curators and the American Academy in Rome announced this week that it will award the Samuel H. Kress Foundation AAMC Affiliated Fellowship to Judith W. Mann, the Museum’s curator of European art to 1800.

The fellowship is intended to honor exceptional curatorial vision by providing essential funding for curators to develop projects that require research in Rome. Mann will research stone altarpieces in the city for an upcoming exhibition that will present a pan-European view of the practice of painting on stone from its beginnings around 1530 through the end of the 18th century.

“To do great work, curators need to understand the physical qualities of the artworks they study and the context and environment in which they first appeared,” said Emily Ballew Neff, AAMC & AAMC Foundation President.  “We are grateful to the Samuel H. Kress Foundation for their deep understanding of this need and their enthusiasm in supporting it.”

Since joining the Museum in 1988, Mann has reinstalled the collections of Medieval, Renaissance, Baroque, and 18th-century European painting and sculpture three times, and organized two major international exhibitions. Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy opened at Rome’s Palazzo Venezia and later was seen at the Metropolitan Museum of Art and the Saint Louis Art Museum. The 2012 exhibition Federico Barocci: Renaissance Master was subsequently presented at the National Gallery, London, and received the Association of Art Museum Curators’ Outstanding Monographic Exhibition Award. Mann is preparing an exhibition devoted to the practice of painting on stone surfaces. She holds a graduate degree and doctorate from Washington University.

 “I am delighted to have received the Samuel H. Kress Foundation AAMC Affiliated Fellow at the American Academy in Rome,” Mann said.  “It will allow me an extended period of time to experience and research these paintings in the ambience in which they were made and used, which is key to solving some of the issues these fascinating works have raised.”

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