Bronwen Wilson teaches at UCLA where she specializes in Renaissance and Early Modern art history. Her current book project, The Horizon and Inscription in Early Modern Mediterranean Travel Imagery, brings to light innovative uses of media and formats in which diverse temporal experiences were materialized. Recent articles include “The Itinerant Artist and the Islamic Urban Prospect: Joseph-Guillaume Grélot’s Self-portraits in Ambrosio Bembo’s Travel Journal,” (Artibus et Historiae, 2017), “Gerhard Mercator und das öffentliche Leben der Globen, Karten und Atlanten,” [Gerardus Mercator and the Public Life of Globes, Maps, and Atlases], in Gerhard Mercator. Wissenschaft und Wissenstransfer (2015), and “Portraiture, Sincerity and the Ethics of Early Modern Conversation,” in Heidegger and the Work of Art History (2014).
Northern Italian portraiture, physiognomy, and skepticism are the focus of her recently completed book manuscript, The Face of Uncertainty.
Wilson also writes on the history of Venetian art, the subject of her book The World in Venice: Print, the City, and Early Modern Identity (winner of the Roland H. Bainton prize for Art History in 2006) and she has published several articles on European images of Ottoman Turks and Turkish costume, which informs her current research.
Edited volumes are Conversion Machines: apparatus, body, artifice (with Paul Yachnin, forthcoming EUP); Making Worlds: Art, Materiality, and Early Modern Globalization (with Angela Vanhaelen); The Erotics of Looking: Materiality, Solicitation and Dutch Visual Culture (with Angela Vanhaelen, 2011); and Making Publics in Early Modern Europe: People, Things and Forms of Knowledge (2010, with Paul Yachnin). Wilson and Yachnin are co-editors of the EUP book series, Conversions: Religions, Cultures, and Transformations in Early Modern Europe and its Worlds.