Ph.D. Rutgers University
Karen Lloyd specializes in Italian Renaissance and Baroque art. Focusing primarily on papal Rome, her work traces the socio-political dynamics of art patronage, production, and reception. She engages with, among other things, the history of collecting and display, Bernini and Baroque sculpture, and the polemics of the early modern devotional image. Her current focus is a book manuscript on the visual apologetics of papal nepotism.
She is the co-editor of, and contributor to, A Transitory Star. The Late Bernini and his Reception (De Gruyter, 2015). Her scholarship has appeared in The Burlington Magazine, Getty Research Journal, Sixteenth Century Journal, and Journal of the History of Collections, as well as the edited volume Making and Moving Sculpture in Early Modern Italy (Ashgate Press, 2015). Most recently, she has turned to the tensions of image making, art theory, and cult practice in the trans-Atlantic Catholic world in a study of Italian representations of the colonial Peruvian statue of the Virgin of Copacabana. The essay is forthcoming in an edited volume on early modern Italy and the Americas (Cambridge University Press, 2017).
Karen is the recipient of grants and fellowships from Queen’s University, the Institut National de l’Histoire d’Art/French Academy in Rome – Villa Medici, and the Kress Foundation/Bibliotheca Hertziana in Rome, among others. Currently, Karen is the Acting Vice President for Program Coordination of the Italian Art Society.