Alessandra Ronetti
- Université Sorbonne Nouvelle - Paris 3
- LIRA - Laboratoire International de Recherches en Arts - EA 7343 (LIRA)
- Histoire culturelle et sociale de l'art (HiCSA)
- Université Paris 1 Panthéon-Sorbonne - UFR Histoire de l'art et archéologie (UP1 UFR03)
Présentation
Alessandra Ronetti holds a PhD in Art history, awarded with honours by Université Paris 1 Panthéon-Sorbonne and Scuola Normale Superiore (Italy) in 2019. The Research Committee of Université Paris 1 Panthéon-Sorbonne has rewarded her doctoral dissertation in 2020 with a prize for the best thesis in Art History. She is Research Associate at the Center Histoire culturelle et sociale des arts (HiCSA), Université Paris 1 Panthéon-Sorbonne (UFR03 Histoire de l’art et l’archéologie). She teaches Color in 19th and 20th centuries Art at Université Sorbonne Nouvelle – Paris 3 and she is also Associate Member at the Laboratoire International de recherche en arts (LIRA), UFR Arts&Media. She is a Team member of the ERC Project Chromotope (Sorbonne Université, Oxford University, CNAM) for which she served as Postdoctoral Research Fellow in the History of Arts and Science (2021-2023). She is a member of the Scientific Committee of the conference COLOUR MATTERS. Exploring Colour and Chromatic Materialities in the Long Nineteenth Century (1798-1914), which will be held in December 2023 at Trinity College, Oxford University. She was Temporary Lecturer and Research Fellow in History of Modern Art (19th and 20th centuries) at Université Paris 1 Panthéon-Sorbonne (2017- 2020), where she co-founded the Research Association IMAGO – Cultures visuelles, and Visiting Researcher and Adjunct Professor at New York University (2016). Her research focuses on the History of Art, especially 19th century French and European Art, the History of Art and the History of Science, Colour in Visual Culture (19th and 20th centuries), Art History methodologies. Her first book Chromomentalisme. Art et psychologie de la couleur en France (1870-1920) is currently under evaluation with a French publisher. This study examines the impact of nineteenth-century psychological theories of colour on art and visual culture, including visual and performing arts, popular imagery and optical devices. She is also editing the proceedings of the international seminar Art and Craft of Colour in 19th century Europe, she co-organized with Arnaud Dubois at Conservatoire des arts et métiers (CNAM) in Paris (2022-2023). She has organized and participated in international conferences and seminars on art history, colour and visual studies, and she has published several articles in peer-reviewed journals.
Publications
Publications
Back to Black: a Fashionable Colour from Worth to ChanelTechnè, 2023, Dossier : Matières noires, sens et substances 2, 56, pp.62-71 |
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Colore, sinestesia ed emozione nella cultura visuale tra Otto e NovecentoItinera Rivista di filosofia e di teoria delle arti, 2022, 23, ⟨10.54103/2039-9251/18545⟩ |
Chromo-culture". Les danses de la nature de Loïe Fuller et la force énergétique de la lumièreRomantisme : la revue du dix-neuvième siècle, 2021, 193, pp.72-83. ⟨10.3917/rom.193.0072⟩ |
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Voir violet. The limits of visible and the violettomania of impressionistsHistoire de l'art, In press, Limites et pratiques de l’art (matérialités et objets / processus et réception), 88 |
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« Psychotechniques de la couleur. Publicité expérimentale et attention visuelle en France autour de 1900 »Histo.art, 2019, 10, dossier : Mind Control. Art expérimental et techniques de conditionnement mental (XIXème-XXème siècles), dirigé par Pascal Rousseau, p. 27-46 |
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« Psychotechniques de la couleur. Publicité expérimentale et attention visuelle en France autour de 1900 »Histo.art, 2019, 10, dossier : Mind Control. Art expérimental et techniques de conditionnement mental (XIXème-XXème siècles), dirigé par Pascal Rousseau, p. 27-46 |
« Chromo-hypnose. Les pratiques de suggestion mentale dans Le peintre néo-impressionniste (1910) d’Émile Cohl »Immagine. Note di Storia del Cinema, 2018, XVIII, octobre-novembre 2018, dossier : Cinema, dream and hallucination from the origins to the early twenties (1895-1925), dirigé par Mireille Berton et Silvio Alovisio, p. 91-116 |
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Beyond Human Vision : Towards an Archeology of Infrared ImagesNecsus - European Journal of Media Studies, 2018, 7 (1), pp. 185-215 |
« La “Musica cromatica” come training sensoriale nelle sperimentazioni futuriste »Quaderni del CSCI : rivista annuale di cinema italiano, 2017, dossier: Cinema italiano: pratiche e tecniche, dirigé par Federico Pierotti, Paola Valentini, Federico Vitella, XIII, p. 25-32 |
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« Bruno Munari »Quaderni del CSCI : rivista annuale di cinema italiano, dossier: Cinema italiano: pratiche e tecniche, 2017, dirigé par Federico Pierotti, Paola Valentini, Federico Vitella, XIII, p. 250-251 |
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« ’Fasciner l’attention’. Le chromatrope et le pouvoir suggestif de la couleur en France au XIXe siècle »Transbordeur. Photographie, Histoire, Société , 2017, 1, 1, p. 134-149 |
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« Émile Bernard in Italia : 1922-1923 »Annali del Dipartimento di Storia delle Arti e dello Spettacolo, 2009, X, X, pp. 165-184 |
Verso i Color StudiesMichele Cometa (dir.); Roberta Coglitore (dir.); Valeria Cammarata (dir.). Cultura visuale in Italia. Immagini, sguardi, dispositivi, Meltemi, 2022, 9788855196390 |
« Ritratto e visione nel Traité complet de la peinture di Jacques-Nicolas Paillot de Montabert »Intorno al ritratto. Origini, sviluppi e trasformazioni [Studi a margine del saggio di Enrico Castelnuovo, Il significato del ritratto pittorico nella società (1973)], Dec 2016, Turin, Italy. dirigé par Fabrizio Crivello et Laura Zamparo, avec la collaboration de Federica Boràgina, Université de Turin, Turin, Accademia University Press, 2019, p. 229-236 |
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« Colori in posa. L’atelier di pittura come dispositivo visuale : 1810-1840 »12th Color Conference, organisée par le Groupe de la couleur : association italienne couleur, Sep 2014, Gênes, Italy. M. Rossi et A. Siniscalco (dir.), Colore e colorimetria. Contributi multidisciplinari, Rimini, Maggioli, 2014, p. 723-734 |