Professor of Art History
duPont Hall 306
(540) 654-1959
jdelance@umw.edu
Julia DeLancey came to the University of Mary Washington in 2017 after teaching art history at Truman State University for twenty-two years (both campuses are members of the Council of Public Liberal Arts Colleges). She earned her BA in the History of Art (Honors) from the University of Michigan and her PhD, also in the History of Art, from the University of St. Andrews in Scotland. Her archival research focuses on the history of visual culture in Venice and Florence during the sixteenth century and has been supported by organizations such as the National Endowment for the Humanities, the Gladys Krieble Delmas Foundation, and the Renaissance Society of America/Istituto Nazionale di Studi sul Rinascimento. While previous scholarship has focused on sellers of artists’ materials and especially the Venetian vendecolori (color sellers) her new project examines the history of and visual culture related to disabilities in early modern Venice. At present, it looks at individuals with visual and mobility impairments and at mental diversity. She has presented her work both nationally and internationally.
Her teaching responsibilities include art history surveys and first-year seminars (including one on art history and disability studies), as well as upper-level courses in a variety of areas including Medieval art; she has also taught numerous courses on a variety of early modern (Renaissance) and Baroque topics, as well as on art and gender, Dada and World War I, Michelangelo, and the theory and historiography of art history.
She is a member of the College Art Association, the Italian Art Society, the Renaissance Society of America, and the Sixteenth Century Society.
Selected Publications
DeLancey, Julia A. “Celebrating Citizenship: Alvise della Scala, Titian, and social status in color sellers in sixteenth-century Venice.” Studi Veneziani n.s. 76 (2017): 15 – 60.
________. “’In the Streets Where They Sell Colors: Placing vendecolori in the urban fabric of early modern Venice.” Wallraf-Richartz-Jahrbuch 72 (2011): 193-232.
________. “Shipping Colour: valute, pigments, trade, and Francesco di Marco Datini.” In Trade in Artists’ Materials: Markets and Commerce in Europe to 1700, eds. Jo Kirby, Susie Nash, and Joanna Cannon, 74-85. London: Archetype, 2010.
________. “Dragonsblood & Ultramarine: The Dealer in Artists’ Pigments in Florence, 1450-1600.” InThe Art Market in Italy, 15th – 17th centuries, eds. Marcello Fantoni, Louisa C. Matthew, Sara F. Matthews-Grieco, 141-50. Ferrara: Franco Cosimo Panini, 2003.