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dr. A.A. (Arnold) Witte

Associate Professor in Cultural Policy
Faculty of Humanities
Capaciteitsgroep Algemene Cultuurwetenschappen
Photographer: onbekend

Visiting address
  • Turfdraagsterpad 15
  • Room number: 1.06
Postal address
  • Postbus 94551
    1090 GN Amsterdam
Contact details
  • Profile Page Arnold Witte

    Research focus

    Arnold Witte is specialised in the field of artistic patronage, both in the Early Modern Period and the present day. His research focuses on the way art has been commissioned by patrons and the way this has (had) an impact on the meanings of these works of art. From this perspective, he is working both on patronage in seventeenth-century Italy, especially the patronage of ecclesiastical patrons and the functioning of religious art, and on contemporary art and the role this plays in the corporate world through corporate art collections.

    Cover of A Companion to the Early Modern Cardinal, edited by Mary Hollingsworth, Miles Pattenden and Arnold Witte, Leiden (Brill) 2020

    Patronage in 17th century Rome

    Arnold Witte has published widely on Italian art, especially Baroque art in Rome. His particular attention goes to iconography and patronage of Counter Reformation painting, in conjunction with institutional networks of both the Catholic Church and secular authorities. This approach is exemplified in his book on the Palazzetto Farnese (The Artful Hermitage, L'Erma di Bretschneider, Rome 2008, for which he received in 2012 the triannual prize of the Dutch Werkgroep Italiestudies as best publication by a Dutch author on an Italian art historical subject) and the article on Domenichino's decoration at the Cappella dei Santi Fondatori in Grottaferrata, where the motives of Cardinal Odoardo Farnese (1573-1626) to commission art both for his own palace in Rome as well as for other locations were explained not as a result of artistic tastes or preferences, but by means ofFarnese's ecclesiastical position and obligations within the hierarchy of the Catholic Church. Aninstitutional approach makes clear that manyof theworks of art he commissioned from Annibale Carracci, Domenichino and Lanfranco reflect his attempts to adopt himself to the shifting expectations of the Vatican authorities towards cardinal protectors. As an ongoing project, Witte is working on concerns the church of San Martino ai Monti in Rome, which was decorated by Gaspar Dughet between 1648 and 1651.

    The Artful Hermitage on Google Books

    Corporate Patronage of the Arts

    This institutional approach to patronage and the meaning of art was also applied by Witte to other fields, in particular to twentieth-century corporate art commissioning and collecting. In his book on the Dutch Post offices and their policy to commission graphic artists and industrial designers (Design is geen vrijblijvende zaak, 2006), he has argued that not the persons shaping this tradition are the key to understand these developments, but their respective positions in the state company itself and in other functions within society. From this perspecive, the closing down of the arts and design department of the PTT in 2002 can be explained as a result of institutional and organizational changes leading to a more professional attitude towards the arts and design. These attitudes opposed and ultimately obstructed the ideologically charged goals and aims of the artistic patronage of the arts & design department.

    With respect to the phenomenon of corporate art collecting in present-day Netherlands, the increasing professionalisation with respect to arts and business is also expressed in the varying functions that art collections serve within companies, and in the wider context of the Dutch art world. The recent book of which Witte was co-editor and co-author, Bedrijfscollecties in Nederland / Corporate Art Collections in the Netherlands , (Rotterdam: VBCN/NAi 2010) analyses the ongoing discussions on the Stuyvesant and the ABN-AMRO collections, for example, which precisely reflect the different expectations that several parties in this field have with respect to corporate art collections. At present is he concluding a four-year research project, financed by the Dutch Research Council (NWO) and the Netherlands Association of Corporate Art Collections (VBCN) on the impact of corporate collecting on the art market, the cultural consumption of employees, and the canonisation processes leading towards the heritage status of modern and contemporary art.

    Corporate Collections in the Netherlands, NAi Publishers

    Historiography of the Italian Baroque

    Thirdly, Witte is conducting research in the field of art historiography, in particular the way the Italian Baroque has been studied in the late nineteenth and first half of the twentieth century. A key figure in this context was Alois Riegl, whose seminal lectures on the subject were published after his death in 1908 in Die Entstehung der Barockkunst in Rom (The Origins of the Baroque in Rome). With the translation of this book into English (in cooperation with Andrew Hopkins of the Università dell'Aquila) and introductions on its publication and the history of its academic reception (by Alina Payne, Andrew Hopkins and Arnold Witte), the aim is to understand how Riegl's attempt to throw a new light on this subject is a result of, and in turn exerted influence on, scholars in the Viennese, German and international academic contexts. It also shows how Riegl did not restrict himself methodologically to formalist discussions of works of art, applied but  a much broader methodological perspective to this field than in earlier publications. In fact, the term 'Kunstwollen', which is often seen as quintessence of his thinking, played a minor role in this book, indicating that he shifted away from it towards a much more historical approach of seventeenth-century art. This project was published in 2010 by the Getty Research Institute.

    Apart from this book, Witte was also guest-editor for the international journal for Italian Studies, Incontri, for a part on the Dutch and Flemish study of Italian Seicento art in the last century, and together with Hopkins he published a translation of and commentary on the 'Kommentar' written by Hans Rose, a pupil of Heinrich Wölfflin, in the latter's 1926 fourth edition of his Renaissance and Baroque book of 1888, which has appeared in the Journal of Art Historiography. He recently also studied the influence of Julius von Schlosser's Italian background on the museological choices he made in the Viennese context.

    Academic positions

    Arnold Witte is associate professor in Cultural Policy. Between 2008 and 2014 he was coordinator of the MA programme of Dutch Art in European Context, and he was Head of Studies of the department Art, Religion and Cultural Studies of the University of Amsterdam between 2010 and 2014. Apart from that, he has also lectured in the history of art at University College Amsterdam between 2010 and 2012.

    Between 2015 and 2019, he was on secondment to the Royal Netherlands Institute in Rome (http://www.knir.it), as Director of studies in Art History and Vice Director. Here he set up courses on contemporary art in Italy (on Arte Povera and Umberto Eco's Opera Aperta) and he initiated a BA minor on italian art and history, together with the Dutch Institute of Art HIstory in Florence (NIKI).

    He is a member of the international advisory board of the journal Explorations in Renaissance Culture, member of the international advisory board of the online Journal of Art Historiography, and between 2010 and 2015 he was member of the Comité de Redaction of Perspective, the historiographic journal of the french Institut National de l'Histoire de l'Art in Paris. Between 2005 and 2015 he was honorary secretary (and former webmaster) of the Dutch Society for Italian Studies (Werkgroep Italiestudies), organising conferences and meetings.

  • Research project "Corporate collections as emerging heritage: Art market dynamics, corporate strategies, and public support for the arts"

    Project partners

    Recently, government policy towards the art has favoured cuts on budgets and subsidies, while expecting a greater involvement from private parties and industry to offset possible damages to the art sector and national cultural heritage. However, the economic downturn has led to cutbacks in the corporate art budgets too. This is a worrying development for the art world, especially because of the risk of a reinforcing feedbackloop between lower investments in the arts and a lower valuation of the importance of the arts for the economy and society.

    In the last decades the involvement of industry in the art market has grown and many larger organizations have set up corporate art collections. These corporate collectors have organized themselves in the Association of Corporate Collections in the Netherlands (Vereniging van Bedrijfscollecties Nederland, henceforth VBCN). Against the background of the above-mentioned developments, the threat of further cutbacks to the budgets of the collections themselves, and the current debates on the sale or alienation of corporate collections, the VBCN saw an urgent need for a systematic investigation into the effects of corporate collecting. At present, there is only limited knowledge about the state of corporate collections and no studies of the effects of the collections on the art market, the reputation of the involved corporations or on developments in the wider art world.

    Other organizations that are concerned about the dynamics of the art world, such as the Rijksdienst Cultureel Erfgoed, Stedelijk Museum Amsterdam and Boekman Stichting (with which an informal cooperation exists within this project), recognized the same need for an in-depth study of the role of corporate collecting and are willing to share their expertise on their respective fields with the research team, in the context of research meetings and broader (co-organised) symposia.

    The consortium set up for this project combines the expertise of two different academic fields in ways that will benefit both the VBCN and the Dutch art market to achieve a fuller and more in-depth understanding of the dynamic processes in which corporate collecting plays a role. The collaboration of the VBCN – and through the VCBN of its individual members, ranging from AMC and Rabobank to AKZONOBEL – will enable the researchers to access, construct and explore a wide range of datasets at the level of the collections and the collecting organizations. The involvement of the Stedelijk Museum Amsterdam and Rijksdienst Cultureel Erfgoed, and the good informal contacts with the Boekman Stichting will greatly benefit the project by allowing not just further access to existing data but also active collaboration in studying developments in the wider art markets and art policy, and the issue of future heritage management.

    Precisely in the rapidly changing environment of the – national and international – art world this project sets out to gather knowledge, which will have immediate relevance for decision-making in for profit and not-for-profit organizations, as well as shape effective cultural policy. These decisions, in turn, will determine the extent to which corporate collecting can continue to function as the driving force of emergent Dutch cultural heritage.

    Academic framework

    Corporate art collections form an important part of the demand for contemporary art, especially new and/or innovative art forms. As such corporate collections play a leading role in the art market. Collectively, corporate collections in the Netherlands and most other countries showcase ‘avant-garde’ art produced by artists with local or national provenance and/or just entering the art market, increasing the chances that these artists are accepted by cultural institutions and the general public, which, in turn, might lead to a process of canonization and recognition of the importance of their work to future generations. Viewed this way, corporate art collections can be seen as emergent national cultural heritage. At the same time, these collections are corporate, belonging to for profit – or not-for-profit –corporations ranging from regional to multinational size. The decision to engage in corporate collecting can affect the reputation of the corporation in the eyes of internal and external stakeholders, and it also affects the cultural consumer behaviour of employees in general and especially of members of the higher management echelons. At an aggregate level corporate collecting – and the emergent cultural heritage it results in – can affect the attitudes of the broader public and national governments towards the artistic field and, more particularly, with regard to the position of the arts in society and the extent to which particular types of art policy are considered desirable.

    All the above-mentioned effects of corporate collecting can be studied from the perspective of signalling theory in the sense that the decisions of corporations and their curators can be publicly observed and function as signals to outside observers, who include these signals in the information they base their own decisions on. A particular corporate collection acquiring the work of a particular artist is a signal about this artist. Many corporate collections investing in particular styles, movements, genres or artists are a signal about these styles, movements, genres and artists. A particular organization having a particular corporate collection, and exhibiting it in a particular way, is a signal of what kind of organization this is, to external stakeholders and to employees. Many corporate collections investing in art is a signal of the importance of art to broader society; the art functioning as a signal is more likely to become cultural heritage, the stronger its function as a signal.

    The core contribution of this project is to investigate these signalling effects of corporate collecting to stakeholders in the corporate and the arts sectors. How strong are these effects, what determines their strength, and how do different effects interact? The antecedents and consequences of corporate collecting will be considered, as part of the wider dynamics of the art world and also of the competitive dynamics in which corporations that build collections are involved.

    The project will focus on a number of research questions. We want to know how corporate collecting functions as a signal of artistic quality, affecting museums, private collectors, and intermediaries, e.g. dealers and art galleries, and how this has an impact on the development of the visual arts and the formation of artistic heritage. Further, the effects of corporate collections making themselves (semi-)public, displaying (parts of) collections to internal and external stakeholders, both physically and digitally, need to be investigated, as these coincide with the signals they send out about corporate reputation to different groups of stakeholders. Apart from the effect of these signals to the art world, the question is how reputations resulting from art collecting might be transferred to other domains. At the same time, we will analyse the interaction between corporate collecting and cultural consumption by members of the involved corporations, amongst general employees but especially at the upper echelon level, and how this ties in with the effect of corporate art collections on public support for the visual arts and its meaning for cultural heritage management with respect to these collections.

    The project as a whole builds on theoretical foundations from management science and from humanities disciplines - specifically heritage studies, cultural studies and art history. By simultaneously adopting management science and humanities-based perspectives, this project considers a much broader range of evidence, to triangulate results in innovative ways, and is forced to extend theoretical and conceptual frameworks, leading to further theoretical contributions.

  • Publications

    2020

    • Baker-Bates, P., Hollingsworth, M., & Witte, A. (2020). Cardinals as Patrons of the Visual Arts. In M. Hollingsworth, M. Pattenden, & A. Witte (Eds.), A Companion to the Early Modern Cardinal (pp. 511-534). (Brill’s Companions to the Christian Tradition; Vol. 91). Leiden: Brill. https://doi.org/10.1163/9789004415447_033
    • Hollingsworth, M., Pattenden, M., & Witte, A. (2020). Introduction. In M. Hollingsworth, M. Pattenden, & A. Witte (Eds.), A Companion to the Early Modern Cardinal (pp. 1-6). (Brill's Companions to the Christian Tradition; Vol. 91). Leiden: Brill. https://doi.org/10.1163/9789004415447_002 [details]
    • Hollingsworth, M., Pattenden, M., & Witte, A. (Eds.) (2020). A Companion to the Early Modern Cardinal. (Brill's Companions to the Christian Tradition; Vol. 91). Leiden: Brill. https://doi.org/10.1163/9789004415447 [details]
    • Pattenden, M., & Witte, A. (2020). The Early Modern Historiography of Early Modern Cardinals. In M. Hollingsworth, M. Pattenden, & A. Witte (Eds.), A Companion to the Early Modern Cardinal (pp. 435-452). (Brill's Companions to the Christian Tradition; Vol. 91). Leiden: Brill. https://doi.org/10.1163/9789004415447_029 [details]
    • Witte, A. (2020). Cardinal Protectors of Religious Institutions. In M. Hollingsworth, M. Pattenden, & A. Witte (Eds.), A Companion to the Early Modern Cardinal (pp. 124-143). (Brill's Companions to the Christian Tradition; Vol. 91). Leiden: Brill. https://doi.org/10.1163/9789004415447_010 [details]
    • Witte, A. (2020). Cardinals and Their Titular Churches. In M. Hollingsworth, M. Pattenden, & A. Witte (Eds.), A Companion to the Early Modern Cardinal (pp. 333-350). (Brill's Companions to the Christian Tradition; Vol. 91). Leiden: Brill. https://doi.org/10.1163/9789004415447_023 [details]

    2019

    • Witte, A. A. (2019). Scale, Space and Spectacle: Church decoration in Rome, 1500-1700. In P. M. Jones, B. Wisch, & S. Ditchfield (Eds.), A Companion to Early Modern Rome, 1492-1692 (pp. 459-481). (Brill's Companions to European History; Vol. 17). Leiden: Brill. https://doi.org/10.1163/9789004391963_026 [details]
    • Witte, A., van Kemenade, E., Graaf, N., & Terburg, J. (2019). Codifying the Genre of Early Modern Guidebooks: Oskar Pollak, Ludwig Schudt and the Creation of Le Guide di Roma (1930). In A. Blennow, & S. Fogelberg Rota (Eds.), Rome and The Guidebook Tradition : From the Middle Ages to the 20th Century (pp. 313-338). Berlin: De Gruyter. https://doi.org/10.1515/9783110615630-009, https://doi.org/10.1515/9783110615630 [details]

    2018

    • Witte, A. A. (2018). Sociable Solitude: The Early Modern Hermitage as Proto-Museum. In K. A. E. Enenkel, & C. Göttler (Eds.), Solitudo: Spaces, Places, and Times of Solitude in Late Medieval and Early Modern Cultures (pp. 405-450). (Intersections : interdisciplinary studies in early modern culture; Vol. 56). Brill. https://doi.org/10.1163/9789004367432_014 [details]

    2016

    • Witte, A. (2016). 'An appendix of manageable proportions': Heinrich Wölfflin and Hans Rose between Baroque Studies and National-Socialism. Journal of Art Historiography, 14, [AW1]. [details]
    • Witte, A. (2016). Lost Frescoes, a Forgotten Saint and a Rediscovered Play: S. Magno in Cittaducale. In M. Verhoeven, L. Bosman, & H. van Asperen (Eds.), Monuments & Memory: Christian Cult Buildings and Constructions of the Past: Essays in honour of Sible de Blaauw (pp. 349-360). (Architectural crossroads : studies in the history of architecture; Vol. 3). Turnhout: Brepols. [details]
    • Witte, A. (2016). [Review of: D. Reynolds-Cordileone (2014) Alois Riegl in Vienna 1875–1905: An Institutional Biography. Studies in Art Historiography]. Austrian History Yearbook, 47, 225-226. [details]
    • Witte, A., & Hopkins, A. (2016). Hans Rose, Commentary to Heinrich Wölfflin, Renaissance and Baroque, fourth edition, Munich: Bruckmann, 1926, 181-328: translation. Journal of Art Historiography, 14, [WHR1]. [details]

    2015

    2014

    • Witte, A. (2014). Architecture and Bureaucracy: The Quirinal as an Expression of Papal Absolutism. Melbourne Art Journal, 13, 162-177. [details]
    • Witte, A. (2014). Passeri's Vite. The Swan Song of the Counter-Reformation Theory of 'Living Art'. In C. van Eck, J. van Gastel, & E. van Kessel (Eds.), The secret lives of artworks: exploring the boundaries between art and life (pp. 200-220). Leiden: Leiden University Press. [details]

    2013

    • Brands, F. E. M., & Witte, A. A. (2013). 'Healing environment' en het lot van autonome kunst in ziekenhuizen. Nederlands Tijdschrift voor Geneeskunde, 157, A6109. [details]

    2012

    • Witte, A. (2012). Pauselijke centralisatie in steen: het Quirinaal als architectonische uitdrukking van bestuurshervormingen. In F. W. Lantink, & J. Koch (Eds.), De paus en de wereld: geschiedenis van een instituut (pp. 209-222, 420-422). Amsterdam: Boom. [details]

    2011

    • Witte, A. (2011). Introduzione alla trascrizione. In M. Guardo (Ed.), Sul biondo Tevere: il restauro del codice 34 K 16 della Biblioteca dell’Accademia Nazionale dei Lincei e Corsiniana di Roma (pp. 29-33). (Salviamo un codice). Padova: Nova Charta. [details]
    • Witte, A. (2011). The power of repetition: Christian doctrine and the visual exegesis of nature in sixteenth- and seventeenth-century painting. In D. Ribouillault, & M. Weemans (Eds.), Le paysage sacré: le paysage comme exégèse dans l'Europe de la première modernité = Sacred landscape: landscape as exegesis in early modern Europe (pp. 93-112). Firenze: Olschki. [details]
    • Witte, A. (2011). Trascrizione del testo olandese e italiano: Modo di far navigabile il fiume Tevere dà Perugia à Roma: pensieri del Mayer disegnati dal sig.r. Gasparo Van Wittel olandese in Roma ne primi anni, che da giovane vi venne da Olanda: Cod. di carte 65. In M. Guardo (Ed.), Sul biondo Tevere: il restauro del codice 34 K 16 della Biblioteca dell’Accademia Nazionale dei Lincei e Corsiniana di Roma (pp. 35-73). (Salviamo un codice). Padova: Nova Charta. [details]

    2010

    • Witte, A. (2010). Reconstructing Riegl’s 'Entstehung der Barockkunst in Rom'. In A. Riegl, A. Hopkins, A. Witte, & A. Payne (Eds.), The origins of Baroque art in Rome: edited and translated (pp. 34-59). (Texts & documents). Los Angeles, CA: Getty Research Institute. [details]

    2009

    • Witte, A. (2009). Federico Zuccari’s 'Dode Christus met engelen': een driedubbele nagedachtenis. Incontri: rivista europea di studi italiani, 24(1), 45-53. [details]

    2008

    • Witte, A. (2008). Professionalisering als paradoxale trend: bedrijfscollecties in Nederland. Boekman, 20(76), 83-87. [details]
    • Witte, A. A. (2008). Paying for frescos in stone: financial aspects of the decoration of S. Martino ai Monti in Rome. The Burlington Magazine, 150(1260), 182-186. [details]

    2019

    • Witte, A. A. (2019). ‘German Baroque and ‘Sonderrokoko’: canonising and ‘nationalising’ the arts in Germany during the long nineteenth century’. Review of: Ute Engel – Stil und Nation. Barockforschung und deutsche Kunstgeschichte (ca. 1830-1930), Paderborn: Wilhelm Fink 2018. Journal of Art Historiography, 21, [AW1].

    2017

    • Witte, A. (2017). Alois Riegl, Die Entstehung der Barockkunst in Rom, 1908. In A. Bacchi, & L. Barroero (Eds.), La riscoperta del Seicento: I libri fondativi (pp. 23-32). Genova: Sagep Editori. [details]

    2015

    • Ronnes, H., & Witte, A. (2015). The Dutch Renaissance in a straightjacket: recent research on Netherlandish Art and Architecture in the Netherlands. Explorations in Renaissance Culture, 41(1), 94-115. https://doi.org/10.1163/23526963-04101005 [details]
    • Witte, A. A. (2015). Wölfflin's Grundbegriffe as a psychological palimpsest? Review of Heinrich Wölfflin's Principles of Art History (2015). Journal of Art Historiography, 13, 1-4.

    2014

    • Witte, A. (2014). Kat. nr. 57: Pieter Sluiter (1675-ca. 1713) nach Jan Goeree (1670-1731): Das Pantheon alt und neu. In S. Frommel, & E. Leuschner (Eds.), Architektur- und Ornamentgraphik der frühen Neuzeit: Migrationsprozesse in Europa = Gravures d'architecture et d'ornement au début de l'époque moderne: processus de migration en Europe (pp. 124-125). Roma: Campisano Editore. [details]

    2013

    • Witte, A. (2013). From Narrative to Icon: Depictions of Martyrs in San Martino ai Monti. In C. Behrmann, & E. Priedl (Eds.), Autopsia: Blut- und Augenzeugen: extreme Bilder des christlichen Martyriums (pp. 167-180). München/Paderborn: Wilhelm Fink. [details]

    2012

    • Witte, A. (2012). Università, arte e società: la presenza d'arte contemporanea all'Università di Amsterdam dagli anni 50 fino ad oggi. In N. Barrella, & G. Salvatori (Eds.), Le aule dell'arte: arte contemporanea e università (pp. 93-102). Napoli: Luciano Editore. [details]

    2011

    • Witte, A. (2011). Een eigenzinnig kunstverzamelaar [Bespreking van: J.F. Heijbroek (2010) Frits Lugt: 1884-1970: leven voor de kunst: biografie]. Boekman, 23(87), 108-109. [details]
    • Witte, A. (2011). Goed voorbeeld doet goed volgen: bedrijfscollecties en het maatschappelijke draagvlak voor de kunst. Boekman, 23(87), 63-68. [details]

    2010

    • Riegl, A., Hopkins, A., Witte, A., & Payne, A. (2010). The origins of Baroque art in Rome: edited and translated. (Texts & documents). Los Angeles, CA: Getty Research Institute. [details]
    • Witte, A. (2010). De Italiaanse Barok in de Nederlandse en Belgische kunstgeschiedenis: historiografische tradities in vergelijkend perspectief: symposium Gent, november 2009. Incontri: rivista europea di studi italiani, 25(2), 100-104. [details]

    2009

    • Barendregt, J., Kamstra, S., van der Star, M., & Witte, A. (2009). Bedrijfscollecties in Nederland = Corporate art collections in the Netherlands. Rotterdam: NAi Uitgevers. [details]

    2008

    • Witte, A. (2008). The iconography ex contrario of the 'Contento', or: Odoardo Farnese as a patron of Elsheimer. In A. Thielemann, & S. Gronert (Eds.), Adam Elsheimer in Rom: Werk - Kontext - Wirkung : Akten des Internationalen Studientages der Bibliotheca Hertziana, Rom, 26. - 27. Februar 2004 (pp. 157-177). München: Hirmer. [details]
    • Witte, A. A. (2008). The artful hermitage: the palazzetto Farnese as a counter-reformation Diaeta. (LermArte; No. 2). Roma: L'Erma di Bretschneider. [details]
    • Witte, A. A. (2008). The San Martino ai Monti as a theatre of painting: churches, artists and plays in mid-seventeenth-century Rome. In H. Hendrix, & P. Procaccioli (Eds.), Officine del nuovo: sodalizi fra letterati, artisti ed editori nella cultura italiana fra Riforma e Controriforma : atti del Simposio internazionale, Utrecht 8-10 novembre 2007 (pp. 65-70). Manziana: Vecchiarelli. [details]

    2007

    • Witte, A. (2007). Hermits in High Society: Private Retreats in Late Seicento Rome. Melbourne Art Journal, 9/10, 104-119. [details]
    • Witte, A. A. (2007). Beeld voor Beeld - Klassieke Sculptuur in Prent. Amsterdam: Allard Pierson Museum. [details]

    2019

    • Witte, A. A. (2019). Wat 'doet' kunst in het ziekenhuis? In S. Kamstra (Ed.), Een gebouw dat kunst ademt (pp. 205-212). Amsterdam: Amsterdam UMC.

    2018

    • Witte, A. (2018). In tune with Italy? Julius von Schlosser and the Musikinstrumentensammlung in the Neue Hofburg. In L. Lorizzo (Ed.), L'Italia di Julius von Schlosser (pp. 113-126). (Vedere e rivedere; Vol. 1). Rome: De Luca Editori d'Arte. [details]
    • Witte, A. (2018). Pier Leone Ghezzi's Albums with Drawings: between Studio Practice and Noble Passtimes. In V. Segreto (Ed.), Libri e Album di Disegni 1550-1800: Nuove prospettive metodologiche e di esegesi storico-critica (pp. 169-174). De Luca Editori d'Arte. [details]

    2017

    • Kackovic, M., & Witte, A. (2017). De relatie tussen kunst en werknemer: Bedrijfscollecties als casus. Boekman, 29(113), 24-27. [details]
    • Witte, A. (2017). Van sociaaldemocratisch ideaal naar het ego van de CEO: Bedrijfscollecties aan het begin van de eenentwintigste eeuw. De Witte Raaf, 31(186), 16-17. [details]

    2014

    2013

    • Witte, A. A. (2013). I manoscritti della navigazione: un'opera in collaborazione tra Gaspar van Wittel e Cornelis Meyer? In M. M. Breccia Fratadocchi, & P. Puglini (Eds.), Gaspar van Wittel: i disegni: la collezione della Biblioteca Nazionale di Roma (pp. 53-60). Rome: Biblioteca Nazionale Centrale di Roma. [details]

    2012

    • Witte, A. (2012). Cultuurbeleid in oorlogstijd [Bespreking van: B. van Berkel (2012) Dr. Tobie Goedewaagen (1895-1980): een leven lang nationaal-socialist]. Boekman, 24(92), 112-114. [details]
    • Witte, A. (2012). Formalism in the first half of the twentieth century: ‘pure science’ or a case of effective rhetoric? [Review of: M.B. Frank, D. Adler (2012) German art history and scientific thought: beyond formalism]. Journal of Art Historiography, 7, AW/1. [details]
    • Witte, A. (2012). [Review of: L. Lorizzo (2010) Pellegrino Peri: il mercato dell'arte nella Roma barocca]. ArtHist : H-net Information Network for Art History, 17.01.2012, 2574. [details]

    2010

    • Witte, A. (2010). Nederlandse bedrijfscollecties: verwachtingspatronen, kunstidealen en de realiteit. In S. Kamstra, D. Petovic, J. Rietbergen-Barendrecht, M. van der Star, & A. Witte (Eds.), Verslag symposium Vereniging Bedrijfscollecties Nederland (pp. 17-27). Amsterdam: Vereniging Bedrijfscollecties Nederland. [details]
    • Witte, A. (2010). [Review of: P. Cavazzini (2008) Painting as business in early seventeenth-century Rome]. Simiolus, 34(1), 65-68. [details]

    2009

    • Barendregt, J., Kamstra, S., van der Star, M., & Witte, A. (2009). Introduction = Inleiding. In J. Barendregt, S. Kamstra, M. van der Star, & A. Witte (Eds.), Bedrijfscollecties in Nederland = Corporate art collections in the Netherlands (pp. 18-21). Rotterdam: NAi Uitgevers. [details]
    • Witte, A. (2009). Controversy corridor, corporate art en branch museum: een internationaal perspectief op bedrijfscollecties = Controversy corridor, corporate art and branch museum: an international perspective on corporate art collections. In J. Barendregt, S. Kamstra, M. van der Star, & A. Witte (Eds.), Bedrijfscollecties in Nederland = Corporate art collections in the Netherlands (pp. 153-175). Rotterdam: NAi Uitgevers. [details]
    • Witte, A. (2009). L’art pour l’art? De legitimatie van bedrijfscollecties in Nederland = L’art pour l’art? The legitimization of corporate art collections in the Netherlands. In J. Barendregt, S. Kamstra, M. van der Star, & A. Witte (Eds.), Bedrijfscollecties in Nederland = Corporate art collections in the Netherlands (pp. 33-53). Rotterdam: NAi Uitgevers. [details]
    • Witte, A. (2009). Werknemersappreciatie voor bedrijfscollecties: legitimatie en realiteit = Employees' appreciation of corporate collections: legitimization and reality. In J. Barendregt, S. Kamstra, M. van der Star, & A. Witte (Eds.), Bedrijfscollecties in Nederland = Corporate art collections in the Netherlands (pp. 97-109). Rotterdam: NAi Uitgevers. [details]
    • Witte, A. (2009). [Review of: S. Schütze (2007) Kardinal Maffeo Barberini, später Papst Urban VIII., und die Entstehung des römischen Hochbarock]. Journal für Kunstgeschichte, 13(3), 170, 172-174. [details]

    2008

    • Witte, A. (2008). [Review of: C. de Bondt (2006) Royal tennis in renaissance Italy]. The Sixteenth Century Journal, 39(1), 163-164. [details]
    • Witte, A. (2008). [Review of: T. Rohark (2007) Intarsien: Entwicklung eines Bildmediums in der italienischen Renaissance]. Journal für Kunstgeschichte, 12(1), 54-57. [details]

    2007

    • Witte, A. A. (2007). [Review of: C. Hendriks, B.W. Meijer (2003) Northern landscapes on Roman walls : the frescoes of Matthijs and Paul Bril; F. Cappelletti (2006) Paul Bril e la pittura di paesaggio a Roma 1580 – 1630; F. Cappelletti (2006) Archivi dello sguardo : origini e momenti della pittura di paesaggio in Italia : atti del convegno, Ferrara, Castello Estense, 22 - 23 ottobre 2004]. Journal für Kunstgeschichte, 4(11), 303-307. [details]

    2006

    • Witte, A. (2006). Architectuur in vertaling: Italiaanse en Nederlandse bouwtradities in de zeventiende eeuw. Incontri: rivista europea di studi italiani, 21(2), 151-160. [details]
    • Witte, A. A. (2006). 'Design is geen vrijblijvende zaak'. Organisatie, imago en context van de PTT-vormgeving tussen 1906 en 2002. Breda/Rotterdam: De Beyerd/NAi. [details]
    • Witte, A. A. (2006). [Review of: C. Loisel (2004) Ludovico, Agostino, Annibale Carracci (Inventaire général des dessins italiens; 7)]. Journal für Kunstgeschichte, 10(3), 265-268.
    • Witte, A. A. (2006). [Review of: N. Courtright (2004) The Papacy and the art of reform in sixteenth-century Rome : Gregory XIII's Tower of the Winds in the Vatican]. Journal für Kunstgeschichte, 10(1), 17-19. [details]

    2018

    • Witte, A. A. (2018). Portraits as a sign of possession: Cardinals and their protectorates in 17th century Rome. Paper presented at RSA NOLA, New Orleans, United States.

    Media appearance

    • Witte, A. (26-01-2019). Ziekenhuiskunst: Van alles te zien in gang en op zaal. Wordt je hier beter van? [Print] Het Parool. Ziekenhuiskunst: Van alles te zien in gang en op zaal. Wordt je hier beter van?.
    • Witte, A. (08-02-2017). Bedrijfscollecties hebben vaak uitstekende neus voor jong talent [Print] De Volkskrant. Bedrijfscollecties hebben vaak uitstekende neus voor jong talent.
    • Witte, A. (08-02-2017). De kunstaankoop overleeft het bedrijf [Print] NRC. De kunstaankoop overleeft het bedrijf.

    Talk / presentation

    • Witte, A. (keynote speaker) (30-11-2019). Art at Work & Employee Engagement: A quantitative approach, Art at Work & Employee Engagement, Athens, Greece.
    • Witte, A. (invited speaker) (17-10-2019). Guidebooks to Rome, Swedish Institute of Classical Studies in Rome.
    • Witte, A. (invited speaker) (27-9-2019). The Cardinal Protectors of the Accademia di San Luca and their Tasks: Amateurs or Bureaucrats?, Storie e Controstorie delle Accademie del Disegno tra Firenze, Bologna, Roma, Rome, Italy.
    • Witte, A. (speaker) (6-6-2019). Narratives of Corporate Collections: Concluding Remarks, Symposium: Corporate Collections of Contemporary Art, Brussel, Belgium.
    • Witte, A. (speaker) (29-5-2019). L'occhio artistico e riflesso aziendale - Arte al Lavoro, Università di Salerno.
    • Witte, A. (speaker) (23-11-2018). The Qualities of Art - Corporate Collections in the Netherlands and their Aims, De Nederlandsche Bank.
    • Witte, A. (keynote speaker) (5-12-2017). Committenza senza gusto? I cardinali, le istituzioni e le arti fra Seicento e Settecento, Ecole Francaise de Rome.
    • Witte, A. (speaker) (15-12-2016). Cardinals and their Titular Churches, The Early Modern Cardinal, Oxford, United Kingdom.
    • Witte, A. (keynote speaker) (29-11-2016). Grimaldi, Dughet, e la decorazione di San Martino ai Monti: uno spettacolo teatrale religioso, Istituto Storico Austriaco, Rome.
    • Witte, A. (invited speaker) (25-11-2016). More than Money: Recent Research on Dutch Corporate Collecting, International Association of Corporate Collections of Contemporary Art.
    • Witte, A. (invited speaker) (15-10-2016). ¿Coleccionar para el presente o para el futuro? Las colecciones de arte corporativas entre los museos, las fundaciones, las casas de subastas y el público?, La responsabilidad social de construir un patrimonio artístico, Barcelona, Spain.
    • Witte, A. (invited speaker) (14-10-2016). (Re)creating the landscape: the Madonna and early modern devotional painting in Italy, Krajina a venkov v baroku / Landscape and Countryside in Baroque, Horní Jiřetín and Jezeří Chateau, Czech Republic.
    • Witte, A. (invited speaker) (14-4-2016). More than Money: Traditions and recent developments in Dutch corporate collecting, Connection, Warschau, Poland.
    • Witte, A. (keynote speaker) (12-4-2016). L'iconografia delle Madonne nel Paesaggio di Giovanni Bellini: Un nuovo approccio storico-ecclesiastico, Pinacoteca Nazionale di Ferrara.
    • Witte, A. (speaker) (31-3-2016). Cardinal protectors in the Early Modern period – a disputed position, Renaissance Society of America, Boston.
    • Witte, A. (invited speaker) (18-3-2016). Alois Riegl's Entstehung der Barockkunst in Rom. Un non finito indicando la strada verso l'uso di fonti scritte sul Barocco, Libri Fondativi - Progetto Barocco, Rome, Italy.
    • Witte, A. (invited speaker) (15-3-2016). Time, Taste and Power, Book presentation: Clare Robertson, Rome 1600 - The city and the visual arts under Clement VIII, Rome, Italy.

    Others

    • Witte, A. (organiser) (14-12-2018). Postwar Narratives of Collecting, Rome, Italy. Why do we collect, how do we legitimise it for ourselves or for others, and what does that say about our culture? Collecting as a practice has been (…) (organising a conference, workshop, ...).
    • Witte, A. (organiser) & Donato, M. P. (organiser) (8-11-2018 - 9-11-2018). Lettere, corrispondenze, reti epistolari: a che punto siamo?, Rome, Italy (organising a conference, workshop, ...).
    • Witte, A. (organiser), Capitelli, G. (organiser) & de Nile, T. (organiser) (20-9-2018 - 21-9-2018). Fiamminghi al Sud, Rome, Italy (organising a conference, workshop, ...).
    • Witte, A. (organiser) & Segreto, V. (organiser) (30-5-2018 - 1-6-2018). Libri e Album di disegni nell'età moderna 1550-1800, Rome, Italy. L’Accademia di Belle Arti di Roma, in collaborazione con il Koninklijk Nederlands Instituut Rome, presenta la prima edizione del (…) (organising a conference, workshop, ...).
    • Witte, A. (examiner) (17-11-2016). Ph.D. thesis defense Observable Persuaders (examination).
    • Witte, A. (organiser) (10-6-2016). I Cardinali moderni tra Roma e il mondo, Rome, Italy (organising a conference, workshop, ...).
    • Witte, A. (participant) (21-4-2016). Withdrawal and Engagement in the Long 17th Century, Copenhagen, Denmark (participating in a conference, workshop, ...).
    • Witte, A. (organiser), Pattenden, M. (organiser) & Hollingsworth, M. (organiser) (31-3-2016). Renaissance Society of America, Boston. The Early Modern Cardinal - Historiography, Biography and Power (3 sessions) (organising a conference, workshop, ...).
    This list of publications is extracted from the UvA-Current Research Information System. Questions? Ask the library or the Pure staff of your faculty / institute. Log in to Pure to edit your publications. Log in to Personal Page Publication Selection tool to manage the visibility of your publications on this list.
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