Sheryl E. Reiss (Ph.D. Princeton University, 1992) is a specialist in Italian Renaissance art and architecture with
particular interest in the history of patronage and collecting. She is also interested in topics including women and
gender; archaism in early modern art; artistic and intellectual exchange between Italy and Northern Europe; and
funerary art and commemoration. She is the recipient of grants and fellowships from the Samuel H. Kress
Foundation, the National Endowment for the Humanities, the Reniassance Society of America, and the Center for
Advanced Study in the Visual Arts (CASVA). She has published widely on Italian art and art patronage of the early
sixteenth century, focusing particularly on the patronage of members of the Medici family. She has co-edited two
books: Beyond Isabella: Secular Women Patrons of Art in Renaissance Italy (with David Wilkins), published in
2001, and The Pontificate of Clement VII: History, Politics, Culture (with Kenneth Gouwens), published by
Ashgate in 2005. She is currently preparing several articles on the art patronage of Pope Clement VII de’ Medici, as
well as a book entitled The Making of a Medici Maecenas: Giulio de’ Medici (Pope Clement VII) as Patron of Art.
Dr. Reiss has been named Editor Designate of caa.reviews, the on-line review journal published by the College Art
Association of America. She will take over as Editor-in-Chief on 1 July 2011.
SELECTED PUBLICATIONS
Edited Books
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The Pontificate of Clement VII: History, Politics, Culture, collection of twenty essays co-edited with
Kenneth Gouwens, University of Connecticut (Ashgate, 2005).
Beyond Isabella: Secular Women Patrons of Art in Renaissance Italy, ed. Sheryl E. Reiss and David G.
Wilkins, Sixteenth Century Essays and Studies 54 (Truman State University Press, 2001).
Journal Articles, Essays in Edited Volumes
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“Per havere tutte le opere … da Monsignore Rev.mo: Artists Seeking the Favor of “Cardinal Giulio
de’ Medici,” forthcoming in Possessions: Renaissance Cardinals: Rights and Rituals, ed. Mary
Hollingsworth and Carol Richardson (University Park, PA: Pennsylvania State University Press,
2010),113-31.
“Raphael and his Patrons: From the Court of Urbino to the Curia and Rome,” in The Cambridge
Companion to Raphael, ed. Marcia B. Hall (Cambridge University Press 2005), 36-55; 317-35.
“Adrian VI, Clement VII and Art,” in The Pontificate of Clement VII: History, Politics, Culture, ed.
Kenneth Gouwens and Sheryl E. Reiss (Ashgate, 2005), 341-64.
“Widow, Mother, Patron of Art: Alfonsina Orsini de’ Medici,” in Beyond Isabella: Secular Women
Patrons of Art in Renaissance Italy, ed. Sheryl E. Reiss and David G. Wilkins, Sixteenth Century
Essays and Studies 54 (Kirksville, Missouri: Truman State University Press, 2001), 125-57.
“Cardinal Giulio de’ Medici and Mario Maffei: A Renaissance Friendship and the Villa Madama,” in
Coming About… A Festschrift for John Shearman, ed. Lars R. Jones and Louisa C. Matthew
(Cambridge, Massachusetts: Harvard University Art Museums, 2001), 281-88.
“ ‘Villa Falcona:’ The Name Intended for the Villa Madama in Rome,” Burlington Magazine 137
(1995): 740-42.
“The Ginori Corridor of San Lorenzo and the Building History of the New Sacristy,” Journal of the
Society of Architectural Historians 52 (1993): 339-343.
“Cardinal Giulio de’ Medici’s 1520 Berlin Missal and Other Works by Matteo da Milano,” Jahrbuch
der Berliner Museen 33 (1991): 107-128.
“A Medieval Source for Michelangelo’s Medici Madonna,” Zeitschrift für Kunstgeschichte 50
(1987): 394-400
Exhibition and Museum Catalogue Essays and Entries
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Six catalogue entries on works by Raphael, Giulio Romano, Baldassare Peruzzi, Andrea Sansovino, and
Giuliano Bugiardini for exhibition “From Raphael to the Carracci: The Art of Papal Rome,” Ottawa,
National Gallery of Canada, May 2009 (cat. nos. 19, 21, 22, 24, 37, 39 = 26 pp.)
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“Clemens VII.,” in Hochrenaissance im Vatikan: Kunst und Kultur im Rom der Päpste I ,1503 –
1534, exh. cat., Kunst-und Ausstellungshalle der Bundesrepublik Deutschland, 1998, 55-69 and eight
catalogue entries.
FORTHCOMING PUBLICATIONS AND CURRENT PROJECTS
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“ From “Defender of the Faith” to “Suppressor of the Pope”: Visualizing the Relationship of Henry VIII
to the Medici Popes Leo X and Clement VII,” under contract for publication in Henrici-Medici Artistic
Links between the Early Tudor Courts and Medicean Florence, ed. Cinzia M. Sicca and Louis A.
Waldman, Villa I Tatti and the Yale Center for British Art (completed manuscript submitted to editors
September 2009).
“Pope Clement VII and the Decorum of Medieval Art,” in Revisioning the High Renaissance, ed. Jill
Burke (completed manuscript accepted for publication, Ashgate Ltd).
“The Patronage of the Medici Popes at San Lorenzo in the Historiographic Tradition,” invited contribution
to San Lorenzo: A Florentine Church, ed. Robert Gaston and Louis A. Waldman, to be published by the
Villa I Tatti, Florence (The Harvard University Center for Italian Renaissance Studies). Manuscript due
December 2010.
“A Taxonomy of Art Patronage in Early Modern Italy,” invited contribution to Mapping Renaissance and
Baroque Art: Essays on Culture and Ideas, 1300-1700, ed. Babette Bohn and James M. Saslow. Book
under contract with Blackwell, manuscript due December 2010.
“Signing the Work: A Medici Patron in Search of a ‘Signature’.” Invited contribution to Der Künstler und
sein Werk: Signaturen europäischer Künstler vom Mittelalter bis zum Barock, ed. Nicole Hegener.
Manuscript due spring 2011.
“Secular Women Patrons in Europe 1300-1700,” invited contribution to The Ashgate Research Companion
to Women and Gender in Early Modern Europe, ed. Katherine McIver, Allyson Poska, and Jane
Couchman. Under contract with Ashgate, manuscript due July 2011.
The Making of a Medici Maecenas: Giulio de’ Medici (Pope Clement VII) as Patron of Art. Book in
progress.