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Dr Victoria Avery FSA

Keeper of Applied Arts

Victoria Avery (BA, PhD, Cantab) has been Keeper of Applied Arts at the Fitzwilliam Museum since 2010, prior to which she was Associate Professor in the History of Art Department, University of Warwick (2005-10) and Rush H. Kress Fellow at Villa I Tatti (Harvard University Center for Italian Renaissance Studies; 2004-05). She has researched, lectured and published extensively on Italian Renaissance sculpture, most recently co-authoring with Paul Joannides, A Michelangelo Discovery (2015). She was awarded the Premio Salimbeni 2012 for her British Academy-funded monograph, Vulcan’s Forge in Venus’ City: The Story of Bronze in Venice, 1350-1650 (2011). She has also published on various aspects of the applied arts, including the co-authored Fitzwilliam Museum exhibition catalogue, Treasured Possessions from the Renaissance to the Enlightenment (2015). She is a Fellow of the Society of Antiquaries, and sits on the Advisory Council of VISTAS (Virtual Images of Sculpture in Time And Space, 1250-1780), the editorial board of Ricche Minere, and the Art Advisory Committee of Ely Cathedral.

 

Research Interests

Primarily Italian Renaissance sculpture (commissioning, making, display, reception and collecting, iconography) with that produced in Venice (c. 1450-c.1650); also European sculpture in general.

As Keeper of Applied Arts, Vicky has a broad-based working knowledge of and interest in European ceramics, glass, silver, pewter, textiles, fans, furniture, clocks, watches, jewellery, arms and armour, as well as Islamic art and Oriental art. 

 

Recent/Major Publications

2016: Victoria Avery, ‘Material matters: bronze and its (non)-employment in the funerary monuments of Venice’s Doges, 1475-1625’, in Benjamin Paul (ed.), Doges’ Tombs/Tombe Dogali, (Rome: Centro Tedesco di Studi Veneziani, forthcoming)

2015: A Michelangelo Discovery: The Rothschild bronzes and the case for their proposed attribution (Cambridge: Fitzwilliam Museum), co-edited with Paul Joannides

2015: Treasured Possessions from the Renaissance to the Enlightenment (London: Philip Wilson), co-edited with Melissa Calaresu and Mary Laven

2015: ‘ “belo et onorato per onor ancho suo”: Alessandro Vittoria’s Zane Altar Reconsidered’ in Carlo Corsato and Deborah Howard (eds), Santa Maria Gloriosa dei Frari: Immagini di Devozione, Spazi della Fede / Devotional Spaces, Images of Piety (Padua: Centro Studi Antoniani), pp. 233-49

2015: ‘Alessandro Vittoria and the Art of Carving’, in Kelley Helmstutler Di Dio (ed.), Making and Moving Sculpture in Early Modern Italy (Farnham and Burlington, VT: Ashgate), pp. 87-110

2013: ‘Campane, Cavedoni, Candelieri and Caramali: Giacomo Calderari (c.1562–1622), bell-maker and bronze-caster of Venice’, in Peta Motture, Emma Jones & Dimitrios Zikos (eds), Carvings, Casts and Collectors: The Art of Renaissance Sculpture, ed. (London: V&A; 2nd ed. 2014), pp. 236-51

2013: ‘ “Due incomparabili donzelle”: Catarina and Anna Castelli, Sister Bell-Makers in Eighteenth-Century Venice’, in Machtelt Israëls and Louis A. Waldman (eds), Renaissance Studies in Honor of Joseph Connors, 2 vols (Florence: Leo S. Olschki Editore), vol. I, pp. 654-70

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