Corinna T. Gallori received her Ph.D. in Art History from the Università degli Studi of Milan (Italy) in 2008 with a dissertation on the Man of Sorrows imagery and its functions in Lombard art. From 2009 to September 2012 she has been first a short-time postdoctoral fellow of the Directorate Alessandro Nova at the Kunsthistorisches Institut in Florenz–Max-Planck-Institut, and then a researcher collaborating on the project Globalisierung von Bildern und Dingen in der Frühen Neuzeit (https://www.khi.fi.it/4641029/globalisierung) of the Directorate Gerhard Wolf at the same institute. She was then awarded fellowships at the Italian Academy at Columbia University (Fall 2012), at the Warburg Institute (early 2014), and, again, at the Kunsthistorisches Institut in Florenz (Fall 2015 – Fall 2017). Corinna has taught Medieval and Renaissance Art at the Università del Molise, Iconography and Iconology (to be broadly intended as “non-connoisseurship approaches to art”) at the Università Cattolica del Sacro Cuore of Milan, and Saints, Sinners, and Harlots: Medieval Women in Central Italy at the Umbra Institute in Perugia. With Marzia Faietti and Tommaso Mozzati, she curated the exhibition Spagna e Italia in dialogo nell’Europa del Cinquecento (Florence, Galleria degli Uffizi, Aula Magliabechiana, February 27 – May 27, 2018). Since 2020, she is a member of the editorial board of Venezia Arti, the open access art history journal of the Università Ca’ Foscari of Venice. In June 2021, she was awarded the Abilitazione Scientifica Nazionale, the Italian Habilitation, in art history (10/B1). Presently, Corinna is an associated scholar at the Kunsthistorisches Institut in Florenz.

Her publications and present research focus on Christian imagery, inscriptions in art and those artistic lettering that blur the lines between script and image, as well as the transfer of images across different media and geographic areas. In this respect, she focuses on Mexican feather mosaics, how their imagery was influenced by European prints, and their presence and appreciation within Italian art collections or churches. Corinna’s publications include studies of the Holy Names of Jesus and Mary, a complicated variation of the Name of Jesus (the “IHS”) that is combined with his mother’s (“MA”) and features in the letters scenes from the Passion, and its adoption in Mexico, of the Allegory of the act of signing created in Rome in 1574 as a teaching tool by Polish Canon Tomasz Treter and then adopted in the Rethorica Christiana (Perugia 1579) by Franciscan friar Diego Valades, and of the Crucified monk imagery. She has recently published a book on the development of the so-called Mass of St. Gregory (Le origini della Messa di san Gregorio Magno: testi, immagini, interpretazioni. Milan 2021), or the miracle of the apparition of Christ as the Man of Sorrows to Pope Gregory the Great, in which is also discussed the role played by the Spanish Cardinals Pedro Gonzáles de Mendoza and Bernardino López de Carvajal y Sande in the legend’s association to their titular Roman basilica, Santa Croce in Gerusalemme, as well as an assessment of their patronage in that church from 1478 to 1521.

Personal webpages: https://www.khi.fi.it/en/institut/mitarbeiter/gallori-corinna.php and https://kunsthistorisches.academia.edu/CorinnaTaniaGallori