Angeliki Lymberopoulou joined the Open University in April 2004 from the National Gallery in London, where she worked across the collections as a Dossiers Assistant. She has also taught Modern Greek language and culture at the Foreign & Commonwealth Office, and Byzantine art and architecture at the University of Birmingham. Her research interests focus on Venetian Crete (1211-1669), particularly the artistic production (i.e. icons and wall paintings), the demand (i.e. market), its social context (i.e. the artists and their hybrid clientele), and the cross-cultural influences between Byzantine East and (mainly Italian) West. She also examines late – Palaiologan – Byzantine art (1261-1453) produced in the major artistic centres during the last phase of the empire – Constantinople, Thessaloniki and Mystras.
Her current research interests include the heritage of Byzantine art in the Renaissance period. Furthermore, with Prof. Dr Vasiliki Tsamakda, she is co-managing the Leverhulme funded International Networks project, which examines the representations of hell on Cretan frescoes from the thirteenth to seventeenth centuries. This project involves a team of nine scholars and is currently in its final research year. A pioneering database, currently under construction and expected to go live in May 2014, will offer access to all the material that has been gathered over the course of this project, the plethora of which are currently not available for research and other purposes. A scholarly publication will also accompany this database.
Research proposals from students interested in art production (mainly frescoes and icons), and the social and cultural milieu of Venetian-dominated Crete (1211-1669) are welcome. See the Byzantine Research Group website for further details.
The Church of the Archangel Michael at Kavalariana: Art and Society on Fourteenth-Century Venetian-dominated Crete, Pindar Press, London 2006.
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with R. Duits (eds), Byzantine Art and Renaissance Europe, Farnham, 2013
with P. Bracewell-Homer and J. Robinson (eds), Art & Visual Culture A Reader, Tate Publishing in Association with the Open University, London, 2012
(ed.), Images of the Byzantine World: Visions, Messages and Meanings. Studies presented to Leslie Brubaker, Farnham, 2011
Viewing Renaissance Art, K.W. Woods, C.M. Richardson and A. Lymberopoulou (eds), Yale University Press in Association with the Open University, 2007.
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‘Regional Byzantine Monumental Art from Venetian Crete’, in A. Lymberopoulou and R. Duits (eds), Byzantine Art and Renaissance Europe, Farnham, 2013, pp. 61-99
‘”To the Holy Land and back again”: the art of the Crusades’, in K.W. Woods (ed.), Art and Visual Culture 1100-1600. Medieval to Renaissance, London, 2012, pp. 128-168
‘From Candia to Toledo: El Greco and his art’, in K.W. Woods (ed.), Art and Visual Culture 1100-1600. Medieval to Renaissance, London, 2012, pp. 282-325
with Lynne Harrison, Janet Ambers, ‘The Noli Me Tangere icon at the British Museum: Vision, message and reality’, in A. Lymberopoulou (ed.), Images of the Byzantine World: Visions, Messages and Meanings. Studies presented to Leslie Brubaker, Farnham, 2011, pp. 185-214
‘Late and Post-Byzantine art under Venetian Rule: Frescoes versus Icons and Crete in the middle', in L. James (ed.), The Blackwell Companion to Byzantium, Oxford, 2010, 351-370.
‘Fourteenth-century Regional Cretan Church Decoration: the Case of the Painter Pagomenos and his Clientele’, in P.L. Grotowski and S. Skrzyniarz (eds), Towards Rewriting? New Approaches to Byzantine Art and Archaeology, Warsaw, 2010, pp. 159-175
‘The Painter Angelos and Post-Byzantine’, in C.M. Richardson (ed.), Locating Renaissance Art, Yale University Press in association with the Open University, 2007, 174-210.
‘Audiences and Markets for Cretan Icons’, in C.M. Richardson, K.W. Woods, A. Lymberopoulou (eds), Viewing Renaissance Art, Yale University Press in association with the Open University, 2007, 171-206.
Entries in C.M. Richardson, K.W. Woods, M.W. Franklin, (eds), Renaissance Art Reconsidered. An Anthology of Primary Sources, Blackwell Publishing for the Open University, 2007, 224, 228, 229, 230, 231, 232, 234, 235, 370, 371, 373, 374, 375, 376.
‘ “Pro anima mea”, but do not touch my icons: Provisions for private icons in wills from Venetian-dominated Crete’, in D. Stathakopoulos (ed.), The Kindness of Strangers. Charity in the Pre-Modern Mediterranean, Centre for Hellenic Studies, King’s College London, Occasional Publications, 2007, 71-89.
‘“Fish on a Dish” and its Table Companions in Fourteenth-Century Wall Paintings on Venetian-dominated Crete’, in L. Brubaker and K. Linardou (eds), Eat, drink, and be merry (Luke 12:19). Food and Wine in Byzantium. Papers of the 37th Annual Spring Symposium of Byzantine Studies in Honour of Professor A.A.M. Bryer, Society for the Promotion of Byzantine Studies, Publications 13, Ashgate, Variorum, Aldershot, 2007, pp. 223-232.
‘The Madre della Consolazione icon in the British Museum: Post-Byzantine Painting, Painters and Society on Crete’, Jahrbuch der Ősterreichischen Byzantinistik, 53, 2003, 239-255.
‘A Winged Saint John the Baptist in the British Museum’, Apollo, CLVIII, 50, November 2003, 19-24.
Damned in Hell in Venetian-dominated Cretan Frescoes (13th-17th centuries), in collaboration with Prof. Dr. Vasiliki Tsamakda of the Johannes Gutenberg University of Mainz, Germany, and with contributions from the Leverhulme International Networks ‘Hell Project’ team
‘Representations of donors in the Monumental Art of Venetian Crete’, in N. Zimmerman and V. Tsamakda (eds.), Privatportät. Die Darstellung realer Personen in spätantiken und byzantinischen Kunst, Vienna.
Teaching contributions for the Open University include AA315 Renaissance Art Reconsidered, looking at post-Byzantine art and audiences for Cretan icons; A226 Art and Visual Culture 1100-1600, looking at Crusader art and the work of El Greco; and the new MA in art history.
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