Dr. Paweł Ignaczak is a researcher affiliated with the Academy of Fine Arts in Warsaw. His work focuses on Polish art history, graphic arts, and museum studies, with particular emphasis on 18th-century Polish artists like Jan Piotr Norblin and the cultural heritage preserved in institutions like the Polish Library in Paris. His research interests span historical art techniques, multicultural aspects of the Polish-Lithuanian Commonwealth, and contemporary art criticism. Notable projects include studies on Rembrandt's influence on Polish printmaking and analysis of royal art collections from the Stanisław August Poniatowski era. Articles collectively explore themes of cultural preservation, artistic workshop practices, and cross-cultural exchanges in Central Europe. No scientific awards or grants are explicitly mentioned in the provided texts.
Ginette Vagenheim is a Senior Lecturer and Habilitated Research Director in Classics and Humanities at Université de Rouen Normandie. She is affiliated with the ERIAC research laboratory (UR 4705) and the Department of Humanité et Monde contemporain. Her work focuses on the reception of antiquity in the Renaissance, classical scholarship historiography, and epigraphy. She holds prestigious fellowships including at the CASVA (Washington, DC) and Columbia University’s Italian Academy, and has been awarded the IUF Junior Membership and the Prix « Jeunes chercheurs » du Rotary Club de Pise. Her research explores the interplay between textual and visual sources, particularly through the lens of Pirro Ligorio’s antiquarian works. Key areas include the role of inscriptions in Renaissance scholarship, the history of classical collections, and the cultural transmission of ancient knowledge. She has coordinated major international projects on Renaissance academies and edited foundational volumes like L’or et le calame (2015) and Pirro Ligorio’s Worlds (2019). Dr. Vagenheim actively participates in academic networks across Europe and North America, serving on editorial boards for journals like Aevum and Revue des Études Anciennes . Her teaching spans Latin language, paleography of ancient texts, and the history of libraries. She has mentored doctoral students and organized conferences on topics ranging from epigraphic forgery to Renaissance medical treatises.
Laura Evans is an Associate Professor of Art Education and Director of the Art Museum Education Certificate Program at the University of North Texas' College of Visual Arts and Design. Recognized as a Distinguished Teaching Professor and recipient of the Provost’s OLLI at UNT Faculty Award, she specializes in museum pedagogy and art crime research. Her research explores art crime (thefts, forgeries, vandalism) , museum visitor experiences , and humanistic approaches to art interpretation . She investigates how museums evolve from being 'about something' to 'for somebody' through meaningful engagement strategies. Evans authored the globally published The Atlas of Art Crime (2024), analyzing 75 international cases across theft, forgery and vandalism. The book examines motivations ranging from greed to social justice, featuring historical and contemporary cases from Picasso's Guernica to Chinese antiquities trafficking. Awards & Honors: Distinguished Teaching Professor (UNT) Provost’s OLLI at UNT Faculty Award She directs the Art Museum Education Certificate Program and has conducted professional trainings at institutions including the Kimbell Museum and Getty Museum. Evans leads international art crime study tours across Europe.
Antonio PISTELLATO is a Lecturer at the Department of Humanities of Ca' Foscari University of Venice , specializing in classical studies and Roman history. Holding a PhD in "Ancient History and Archaeology, History of Art" (2007), his academic journey includes fellowships at University College London, Paris X-Nanterre, and Pavia's Cedant Centre. Since 2009, he has alternated research and teaching roles at Ca' Foscari, currently offering Latin language courses and classical studies for the School for International Education (SIE). Education: MA in Classics (Ca' Foscari, 2002), PhD in Ancient History & Archaeology (Ca' Foscari, 2007) His research focuses on Roman epigraphic memory , historiography circulation, and digital humanities , particularly forged epigraphs. His publications analyze Cassius Dio's political narratives, Latin poetic metrics, and textual authenticity issues. Recent scholarship examines: Digital preservation of forged inscriptions Comparative historiography (Historia Augusta vs Cassius Dio) Latin epigraphic models in provincial contexts Biblical Latin influences in Roman documentation Scientific Honors: Marie Curie Fellowship recipient Paris X-Nanterre postgraduate scholar Pavia Cedant Centre awardee As an educator, he coordinates the Latin 1 Laboratory and teaches Latin language/literature at both undergraduate and foundation levels. His office hours are held at Palazzina Briati, home of the School for International Education, with remote appointments available via email.
Orell Witthuhn is a Lecturer for special tasks and Study Coordinator for the Ancient Cultures program at the Department of Egyptology and Coptic Studies , Georg-August-University Göttingen. Previously, they studied Egyptology at Philipps University of Marburg, earning a Master of Arts in 1997, with minors in Classical Archaeology and Philosophy. Research Interests : Ancient Egyptian religion, death and the afterlife, cultural and historical narratives, funerary practices, and cross-cultural exchange in the Mediterranean. Editorial Roles : Editor-in-Chief of the Scientific Literature Index (WLA) (2006–present) and co-editor of volumes like Architecture, Inscriptions, and Monuments of Ancient Egypt and Concepts of Death and the Afterlife . Witthuhn’s recent publications focus on Egyptian death rituals , mythological texts , and imperial structures of the New Kingdom, with sub-fields spanning funerary symbolism, spatial concepts, and historical networks. They actively organize exhibitions (e.g., Bilder des Orients , 2007) and lead academic excursions to Egypt and the Mediterranean. Voluntary roles include Secretary of the Herzberg Local History Association (since 2020) and former Treasurer of the Marburg Association for the Promotion of Egyptology (2001–2010).
Éva Galambos DLA is an Associate Professor and Laboratory Manager at the Hungarian University of Fine Arts' Department of Restoration since 2014, promoted to Associate Professor in 2023. She serves as head of the microscopy laboratory and teaches materials science and polarization microscopic examination of inorganic pigments. Her research focuses on art conservation science , specializing in polarization microscopy of inorganic pigments , material analysis of cultural heritage objects , and diagnostic techniques for restoration . She developed Hungary's first digital pigment database ( pigmentum.hu ) and established advanced analytical laboratories through significant research grants. Galambos has led material investigations for major museum projects including the Museum of Fine Arts' Gamhudi coffin collection, Buda Castle Gothic sculptures, and medieval wall paintings across Hungary and Transylvania. Her work bridges conservation practice with scientific analysis through collaborations with ELTE, MTA research institutes, and international partners. Kerényi-pályázat nívódíj (1994) Köztársasági ösztöndíj (1998-1999) Erasmus ösztöndíj (1999) MAOE alkotói ösztöndíj (2001, 2008) As a doctoral supervisor, she has guided 11 completed DLA dissertations focusing on pigment analysis, forgery detection, and historical techniques. Her laboratory serves as a national hub for conservation science, training specialists in microscopic analysis and material diagnostics for cultural heritage preservation.
Anna Vihart serves as Lecturer and researcher at the Department of Restoration, Hungarian University of Fine Arts since 2016, following her role as Assistant Professor (2013-2016). Her academic foundation includes a DLA doctorate specializing in pigment analysis, establishing her expertise at the intersection of art conservation and material science. Her educational background encompasses: 2012: Doctor of Liberal Arts (DLA) from Hungarian University of Fine Arts Doctoral School; Dissertation: Light microscopic examination and detection possibilities of organic and inorganic black and grey pigments 2005: Painter-restorer artist degree from Hungarian University of Fine Arts Restorer Training Institute 1997: Vocational High School of Fine and Applied Arts, Decorative Painting Department Vihart's research centers on microscopic pigment identification and paint layer analysis, with significant contributions to developing Hungary's first standardized protocol for pigment examination. Her methodological innovations bridge historical art techniques with modern conservation science, particularly in distinguishing organic/inorganic pigments through light microscopy. This work directly informs practical restoration approaches for diverse cultural artifacts. Her publication portfolio demonstrates consistent focus on pigment science applications, from conference presentations on conservation methodologies to historical studies of ecclesiastical art. Key themes include database development for pigment identification, material degradation analysis, and technical examination of historical paintings across Hungarian cultural institutions. Professional recognition includes: Diploma Award of the National Association of Hungarian Artists (2005) TÁMOP-4.2.2.B-10/1 grant for creating Hungary's pigment database and examination protocol (2011-2013) While no formal student advisement is documented, her TÁMOP project leadership involved training workshops for emerging conservators. This initiative significantly advanced pigment analysis capabilities within Hungary's conservation community through standardized methodologies and shared digital resources. As core faculty in the Department of Restoration, Vihart collaborates extensively with national cultural institutions including the Museum of Fine Arts, Hungarian National Museum, and numerous churches/castles. Her project portfolio spans over 30 major conservation efforts since 2005, ranging from medieval altarpieces to contemporary installations, often involving multidisciplinary teams of conservators and art historians.
Mária Chilf is an Associate Professor at the Hungarian University of Fine Arts with a DLA doctoral degree. Born in Târgu-Mureş, Romania on May 10, 1966, she has established herself as a significant figure in contemporary Hungarian art through her painting and intermedia works. Her educational background includes: 2003-2007: Doctoral studies at the Hungarian University of Fine Arts 1997-1998: Hochschule der Künste, Berlin (studied under Katharina Sieverding) 1990-1995: Hungarian University of Fine Arts, painting and intermedia department (studied under Károly Klimó and Dóra Maurer) Chilf's artistic practice explores psychological landscapes, bodily themes, and conceptual frameworks through series-based works. Her notable projects include 'Private Jungle' (2005), 'Loaded Places' (2003), and 'The Inner Secrets of Our Body' (2003), which demonstrate her interest in the intersection of physical and psychological spaces. Her work consistently examines identity, memory, and subconscious processes through mixed media approaches. Analysis of her exhibition history reveals a progression from formal explorations to increasingly complex psychological investigations, with recurring motifs of water, body imagery, and conceptual frameworks that challenge conventional artistic boundaries. Her international presence includes exhibitions across Europe and Mongolia, demonstrating the broad relevance of her conceptual approach. Her most significant honors include: Mihály Munkácsy Award (2005) STRABAG Painting Award (2004) Hungarian Artists' National Association Award (2006) Hungarian Academy of Rome Scholarship (1998) DAAD Stipendium (1997-98) As an educator, Chilf emphasizes creating environments where students develop independent artistic practices through dialogue and experimentation. Her philosophy centers on helping students understand their creative motivations and expand their awareness of visual culture. Her approach combines technical guidance with critical thinking development, encouraging students to explore both theoretical questions and practical implementation in their work. Chilf's works are held in prominent collections including the Ludwig Museum - Museum of Contemporary Art and Hungarian National Gallery in Budapest, as well as international institutions like the Frauenmuseum in Bonn and Akademie Schloss Solitude in Stuttgart.
Dr. Susan Valladares is an Associate Professor in the Department of English Studies at Durham University, where she specializes in theatre and performance history from the late eighteenth to mid-nineteenth century. She is also a member of the Institute of Medieval and Early Modern Studies. Currently on research leave for the 2025/26 academic year as a Leverhulme Research Fellow, she continues to maintain academic correspondence while focusing on her research projects. Her academic journey began with studies at the Universities of Oxford (MA; DPhil) and York (MA), followed by teaching positions at various Oxford colleges. She served as a Junior Research Fellow at Worcester College (2012-2016) and as a Departmental and College Lecturer at St Hugh's College (2016-2018) before joining Durham University in 2018. Dr. Valladares' research centers on English literature from 1660 to 1840, with particular expertise in theatre and performance, political histories, representations of race, early Caribbean studies, slavery and abolition, gender autobiographies, and Romantic-period print cultures. Her work demonstrates how theatre functioned as both a cultural institution and political platform during periods of social transformation. She has made significant contributions to understanding how theatrical practices engaged with broader social, political, and cultural issues of their time, particularly regarding citizenship, patriotism, and national identity formation. Her publications reveal a consistent focus on the intersection of performance, politics, and identity. The articles demonstrate expertise across multiple domains including postcolonial theatre, Romantic-era performance economies, women's war writing, and the representation of race in historical contexts. Her work frequently examines the connections between theatrical practices and larger historical movements, particularly the Napoleonic Wars and abolitionist efforts. 2025: Leverhulme Research Fellowship 2024-2025: Short-Term Fellowships at Folger Shakespeare Library and John Carter Brown Library 2024: Board Member and Book Review Editor for Studies in Romanticism 2023: Durham University's Exceptional Contribution Award 2022: Durham University's Discretionary Award Scheme Dr. Valladares actively supervises PhD students working on English literature from 1660 to 1840, with recent completions including dissertations on Wordsworth's poetry, Romantic dramatic poetics, and Promethean forms of grief in Byron and Shelley. She has successfully secured multiple research grants and fellowships that have supported her archival work at prestigious institutions including Harvard's Houghton Library and the Folger Shakespeare Library. Her engagement with public scholarship includes curating the Bodleian Library's 'Staging History 1780-1840' exhibition, which generated significant public outreach through gallery tours, media interviews, and a podcast series. Her work bridges academic research and public engagement through collaborations with theatre professionals, arts organizations, and educational outreach programs in the North East of England focused on widening participation in higher education.
Dr. Andrew Childs is a Lecturer in Criminology at Griffith University's School of Criminology and Criminal Justice and a member of the Griffith Criminology Institute (2022-present). His academic work focuses on the intersection of technology and crime, with particular expertise in cybercrime phenomena. Dr. Childs' research program blends digital sociology, Science and Technology Studies, and criminological theory to investigate three key areas: the development of online illicit markets, the social organization of cybercrime communities, and the criminogenic affordances of disruptive technologies such as cryptocurrency, artificial intelligence, and the metaverse. His work has pioneered research into emerging digital crimes, including some of the first published studies on social media drug markets, organized identity fraud during the pandemic, and cryptocurrency scam victimization processes. Analysis of Dr. Childs' publication record reveals a strong focus on digital drug markets, cryptocurrency crime, and innovative research methodologies. His work spans both theoretical contributions to criminological understanding of online spaces and practical investigations into specific crime phenomena. The consistent appearance of his research in high-impact journals demonstrates the significance and quality of his scholarly contributions to the field. Dr. Childs has received notable recognition for his work: 2023 Student Experience of Teaching (SET) Survey Commendation Three research outputs featured in Altmetric's Top 5% of all research outputs tracked Work cited in policy documents from 15 different countries Regular media commentary for outlets including ABC News, BBC News, and VICE Dr. Childs has secured significant research funding, including an ECR Research Grant valued at $72,761 for retail fraud research and a Griffith Criminology Institute Strategic Development Grant of $6,093 for research on online retailer fraud services. He currently supervises multiple doctoral students on projects related to cybercrime, including research on financial institution partnerships to prevent child sexual exploitation and dark web drug marketplace disruptions. As of August 2025, his work has received 408 citations with an h-index of 7 (Google Scholar) and a Field-Weighted Citation Impact of 2.12 (SciVal). Based at Griffith University's Nathan Campus, Dr. Childs is an active member of the Griffith Criminology Institute and the Arts Education and Law Group, contributing to interdisciplinary research on crime, justice, and technology.
Thierry Robin is a Professor of Anglophone Studies at the University of Orléans' Faculty of Arts, Languages and Humanities, and a full member of the RÉMÉLICE Laboratory (EA 4907). He holds research associate positions at the University of Western Brittany's HCTI and CRBC centers and serves as Review Editor for Etudes Irlandaises journal. His research spans Irish cultural studies, detective fiction, postmodern/postcolonial theory, discourse analysis, and intermediality. Key themes include identity ideologies, reality-science intersections, and narrative adaptations. He supervises theses on Irish literature/cinema, crime fiction, and anglophone narratives exploring dystopias, satire, and national histories. Recent publications focus on authors like John Banville, Flann O'Brien, and Stuart Neville, analyzing trauma, identity duality, and cultural critique through literary and theoretical frameworks. Robin is also a translator, notably contributing to the European Translating Banville project. No awards or grants are detailed in available sources.
Daphne De Luca is a Research Fellow and Teaching Contract Holder at the University of Urbino Carlo Bo, where she has been teaching Restoration since 2008 and serving as a Research Fellow since 2018. She is the Scientific Coordinator of the Restoration Laboratories for Canvas Paintings and Contemporary Art at the Urbino University Restoration School. Her work spans across the Department of Pure and Applied Sciences (DiSPeA), where she contributes to both academic instruction and practical conservation efforts. Dr. De Luca holds multiple degrees in cultural heritage conservation and art history. She is a Cultural Heritage Restorer with degrees from the Central Institute for Restoration in Rome and the University of Tuscia. She also holds an Art History degree from Sapienza University of Rome and is currently a Doctoral Candidate in History of Artistic Techniques at the École Pratique des Hautes Études (EPHE/PSL) in Paris, in cotutelle with Sapienza University of Rome. Dr. De Luca's research focuses on two interconnected fields: the history of artistic techniques and the development of new methodologies and high-performance materials for cultural heritage restoration. Her work in artistic techniques involves interpreting scientific data from investigation campaigns, structuring national and international research projects, and connecting analytical results to art historical contexts. She has led studies on the execution techniques of artworks by prominent artists including Crivelli, Barocci, Capogrossi, Rubens, Guttuso, and others. Her research on Capogrossi was selected in 2017 for access to the laboratories of the IPERIONCH.IT infrastructure. In conservation and restoration, Dr. De Luca specializes in designing and implementing restoration interventions for panel paintings, canvas paintings, frescoes, stone materials, mosaics, and contemporary art artifacts. She emphasizes high scientific and technical quality, preferring innovative and high-performance new-generation materials and advanced methodologies in cleaning, elastic tensioning, filling, and retouching. Her research on Aquazol® products has led to new materials for composing fills suitable for covering gaps in easel paintings and for watercolor retouching, developed in collaboration with chemist Richard Wolbers and the University of Philadelphia. Dr. De Luca is particularly specialized in the restoration of canvas paintings - a subject she has taught since 2008 at the Urbino University Restoration School - and specifically in the cleaning of both ancient and contemporary paintings. She has developed new systems for elastic tensioning of canvas paintings with springs, registering the TELAIODELUCA® brand in 2020. She is a member of an international research group created by renowned chemist Paolo Cremonesi, focusing on innovative cleaning systems for contemporary art artifacts. With over fifty theses supervised on topics related to cultural heritage restoration and artistic techniques of both ancient and contemporary art, Dr. De Luca has made significant contributions to academic training in her field. From 2016 to 2020, she taught History of Artistic Techniques at Roma Tre University, which appointed her as an Expert in the history of ancient, medieval, and modern artistic techniques for the Master's program dedicated to art forgery. Dr. De Luca directs the "Lineamenti di Conservazione e Restauro" series for Il Prato publishing house since 2011 and is a member of the editorial board of the journal "Progetto Restauro." She is a co-founder and scientific committee member of the new "Restauro" series (TAB Roma editions), for which she curated the first volume dedicated to Giuseppe Capogrossi and the second to Federico Barocci. She is a founding member and former vice-president of the Association ORA (Organization of High-Training Restorers), a member of the Board of Directors of RSF (Restorers Without Borders), and president of CRUN (Committee of University Restorers). She is also a member of SISCA-University Consultation (Italian Society for the History of Art Criticism).
Professor Pauline Mackay is a leading scholar in Robert Burns Studies and Cultural Heritage at the University of Glasgow's Department of Scottish Literature within the College of Arts. She serves as Director of the Queen's Anniversary Prize-winning Centre for Robert Burns Studies, Co-Director of Realities and Immersion Glasgow (research center for immersive realities), and is a resident of the University's Advanced Research Centre. Her interdisciplinary work bridges Scottish literary studies with digital and immersive technologies, transforming traditional humanities scholarship through innovative applications. Her research spans Scottish Literature from the 15th-21st centuries with specialized expertise in Robert Burns, Intangible Cultural Heritage, Material Culture studies, and Digital Humanities. Mackay pioneered the first Robert Burns VR experience 'Burns Beyond Reality' through collaboration with Edify, and currently leads the £6.2m Innovate UK-funded 'Museums in the Metaverse' project. Her scholarship uniquely connects Burns's bawdy song tradition with contemporary cultural heritage practices, examining how immersive technologies can reshape engagement with literary legacies. Mackay's publications reveal a consistent trajectory from textual analysis of Burns's bawdy works to cutting-edge applications of XR technology in cultural heritage. Her research demonstrates sophisticated integration of literary scholarship with technological innovation, particularly in how immersive realities can transform understanding of intangible cultural practices like the Burns Supper. The interdisciplinary nature of her work spans literary criticism, digital humanities, heritage studies, and gender analysis. Queen's Anniversary Prize (as Director of Centre for Robert Burns Studies) English Association Fellows Award (2023) for XR technology applications Saltire Society '40 under 40' recognition (2023) for creative industries contributions As Co-Investigator on multiple major grants including the AHRC-funded 'Editing Robert Burns's Poetry and Correspondence' and Innovate UK's 'Museums in the Metaverse', Mackay has secured significant research funding. She supervises graduate students including Watson, John (thesis on 'Literature and the Scottish Landscape'). Her teaching portfolio includes convening 'Memorialising Scottish Culture & Literature' and developing online courses like the Robert Burns MOOC reaching global audiences. Mackay leads the Centre for Robert Burns Studies team and collaborates through Realities and Immersion Glasgow with XR Project Board colleagues, industry partners, and cultural heritage institutions. Her current research on 'Burns Supper, Intangible Cultural Heritage and Social XR' represents a pioneering effort to transform how living heritage is experienced and transmitted through immersive technologies.
Adrien Palladino, M.A., Ph.D., serves as Assistant Professor in the Art History Seminar at Masaryk University's Faculty of Arts. His institutional affiliation includes the RE:CENT Center for the Study and Popularization of Medieval Visual Culture. Primary correspondence occurs through his office in building K/110 at Veveří 470/28, Brno. His research spans Medieval art history from Late Antiquity to Gothic periods Neo-Byzantine architectural movements in 19th-century Europe Russian iconography and its technical reproduction Cultural politics of Notre-Dame and Gothic Revival Material histories of Late Antique objects Notable methodological approaches integrate reception history, object biography, and cross-cultural analysis of visual phenomena. Publication trends reveal deep engagement with Byzantine legacy reinterpretation across temporal boundaries, particularly examining how medieval visual culture was reconstructed in modern nationalist and imperial contexts. Recent works analyze the Brescia Casket's technical evolution and Conques pilgrimage site's continuous reinvention from the 9th to 21st centuries. Current research initiatives include the Czech Science Foundation project 'Dreams of Byzantium in 19th-Century France' (2024-2026) examining racial and national myths in art history, alongside Erasmus+ collaborations on urban reconstruction and cultural heritage resilience. Teaching consistently focuses on 'Medieval Art From Constantine to Giotto' 'The Fall of an Empire or the Rise of Europe?' 'Introduction to Islamic Visual Cultures' 'Periods of Art History' survey courses with recurring German language instruction for art historians since 2019.
