Carolina Mangone  Assistant Professor

Carolina Mangone cropped

Carolina Mangone

Assistant ProfessorRenaissance/Baroque Art and Architecture


Ph.D., University of Toronto, 2012

Carolina Mangone specializes in southern Renaissance and Baroque art. She is currently completing a book manuscript that examines how Gianlorenzo Bernini, the “Michelangelo of his age,” perpetuated his predecessor’s achievement in an epoch as deeply ambivalent about Michelangelo’s artistic exemplarity as it was wholly obsessed with his prestige and celebrity. By studying Bernini’s lifelong and multidisciplinary dialogue with Michelangelo’s art, practice and persona, this first monographic study of the subject sheds new light on the multivalent and contradictory ways Bernini and his biographers constructed the modernity of their era through and against Michelangelo.

Mangone is also the coeditor, with Evonne Levy, of Material Bernini, a forthcoming anthology that investigates Bernini’s works in clay, marble, bronze, and paint, as well as the historical and scholarly writings on them, from a materialist perspective. Her essay in the volume offers an alternative to the dematerialized, optical reading of Bernini’s sculpture by aligning the artist’s fluency in the concept and practice of pittoresco (which endorsed materially present facture) with his rough clay and unchased bronze surfaces. In addition to this project, Mangone is working on a study of the purported 17th-century completion of an unfinished sculpture by Michelangelo for an early Christian restoration that seized on the liminality of the non-finito as an object with aesthetic autonomy; an article on the unparalleled transmission and translation of Vignola’s Regole delli cinque ordini d’architettura in 17th-century Europe; and an essay on the instruments of scale, proportion, and vision by which artists visualized Michelangelo’s giudizio.

Before joining the Princeton faculty, Mangone was an Andrew W. Mellon post-doctoral fellow and lecturer in the Department of Art and Archaeology at Columbia University (2013–15). Her scholarship has been supported by the Social Sciences and Humanities Research Council of Canada, the Italian Ministry of Foreign Affairs, the Canadian Center for Architecture in Montreal, and the National Gallery of Art in Washington, where she held a Joseph F. McCrindle Curatorial Fellowship in the departments of sculpture and of prints and drawings.

Teaching Interests

Mangone teaches courses on 15th-, 16th- and 17th-century southern European figural arts, architecture and material culture with a focus on concepts and practices of imitation and originality; medium specificity and inter-mediality; the arts of self-inscription (portraiture, biography, autobiography); the phenomenon of non-finish; the posthumous lives of early modern artists in image and text; and the practices and temporality of early Christian antiquarianism.


Material Bernini, coedited with Evonne Levy (Ashgate, forthcoming 2016).

“Bernini scultore pittoresco,” in Material Bernini, ed. Evonne Levy and Carolina Mangone (Ashgate, forthcoming 2016).

“Like Father, Like Son: Gianlorenzo Bernini’s Imitation of Michelangelo,” Art History 37 (2014), reprinted in Theorizing Imitation in the Visual Arts: Global Contexts, Art History Special Issues Series, ed. Paul Duro (Wiley Blackwell, 2015).

Review of exhibition and catalogue, Bernini: Sculpting in Clay, ed. Ian Wardropper et al. (Yale University Press, 2012), in Sculpture Journal 22 (2013).

Review of Inganno: The Art of Deception: Imitation, Reception, and Deceit in Early Modern Art, ed. Sharon Gregory and Sally Anne Hickson (Ashgate, 2012), in Renaissance and Reformation 36 (2013).

Review of exhibition and catalogue, Bernini and the Birth of the Baroque Portrait, ed. Andrea Bacchi et al. (J. P. Getty Museum, 2008), in

Review of exhibition and catalogue, Bernini Pittore, ed. Tomaso Montanari, Palazzo Barberini, Rome (Silvana, 2007), in