Professor Emerita of Art History
The Ohio State University, Columbus, Ohio

Christine B. Verzar born and raized in Switzerland by a Hungarian father and British mother, received her Ph.D. in Art History and Archeology at the University of Basel (Switzerland) in 1966. Her teaching career of Medieval art began at Boston University (1966-69), then Princeton University (1969-70), The University of Michigan (1973-1984), and finally at The Ohio State University (chair and professor 1984-2000). She studied also with George Zarnecki at the Courtauld Institute of Art and Roberto Salvini at the University of Florence.

She is the recipient of numerous research grants and fellowships, among others: NEH, American Philosophical Society, Samuel H. Kress Foundation, A.W. Mellon Foundation. On editorial board of Assaph and Fifteenth Century Studies; Board of Directors International Center of Medieval Art (1985-88); co-chair of 50th Anniversary Development Committee of ICMA (2002-2007); member of exhibition committee, Set in Stone: the Face in Medieval Sculptures, The Metropolitan Museum of Art (September 2006-February 2007), New York and New Haven, 2006 (several catalog entries and co-author of essay, “Gothic Italy: Reflections of Antiquity”) . On editorial Boards: Different Visions; Versita.

Christine wishes to acknowledge the assistance of Pamela Ross for all her help in photography and for giving her some of her photos.

Author of several books and many articles on Medieval art, especially Italian Medieval art and artistic cross currents in the Mediterranean in the period of the Crusades, e.g. (also known as Christine Verzar Bornstein):

Selections from her publications include:

Die Romanischen Skulpturen der Abtei Sagra di San Michele(Bern 1968);

Portals and Politics in the Early Italian City State: The Sculpture of Nicholaus in Context(Parma, 1988);
co–author with P.Soucek, The Meeting of the Two Worlds: Artistic Crosscurrents during the Crusades(Ann Arbor, 1981);

Some recent articles include: “The Semiotics of the Public Monument in 13th and 14th-Century City-Squares: Civic Values and Political Authority” ( 1999); “Legacy and Memory of Countess Matilda of Canossa : the Semiotics of Power and Reform,” in Immagini e Ideologie, Parma 2005; “The Artist’s Vision: Inscriptions and the Audience: Text and Image in North Italian Romanesque Sculpture,” The Romanesque Frieze and Its Spectator ( London, 1992); “Medieval Passageways and Performance Art: Art and Ritual at the Threshold”, in Arte Medievale III/2 (2004) ;”Visualizing Politics and Authority of Countess Matilda of Canossa and Tuscany: Ideology and Myth,” in Pictorial Languages and Their Meanings : Liber Amicorum in honor of Nurith Kenaan Kedar, ed. C. Verzar and G. Fishhoff, Tel Aviv 2006. “Picturing Matilda of Canossa: Medieval Strategies of Representation”, in Representing History, 900-1300, ed. R. Maxwell, University Park, 2010,73-90.

Her current research project centers on the historiography of Art History at Basel University after Burckhardt and Woelfflin.

Browse the Images