Gianmarco Russo

Gianmarco Russo is an art historian specialized in Renaissance and modern Italian art and in the history of art criticism, with particular expertise in Venetian painting and twentieth-century sculpture, especially the work of Marino Marini. He is currently External Lecturer of Art History at the University of Pisa, where he teaches in the Foundation Course program.
He earned his PhD in Art History from the Scuola Normale Superiore in Pisa in 2021, graduating with highest honors. His doctoral research focused on Alvise Vivarini and contributed to the broader reassessment of Venetian painting in the fifteenth century. He previously completed graduate and undergraduate degrees in art history at the University of Pisa, also with highest honors, and was a scholarship student at the Scuola Normale Superiore. Russo has held multiple research fellowships at the Scuola Normale Superiore, including projects dedicated to the documentary, material, and collecting history of Marino Marini’s sculpture, as well as the study of monumental sculpture in post-unification Italy. He has also been a research fellow at the Center for Italian Modern Art (CIMA) in New York, where he conducted research on Marino Marini’s female nudes. In addition to his academic work, he has held fixed-term contractual appointments with the Fondazione Marino Marini in Pistoia, where he contributed to collection research, archival development, authentication procedures, and the management of exhibition loans.
His research has been published in leading peer-reviewed journals, including Prospettiva, Paragone, Humanistica, and Italian Modern Art, as well as in major exhibition catalogues and edited volumes. He is currently completing a monograph on Marino Marini and preparing additional book-length studies on sculpture and art historiography. He has also contributed scholarly entries to the Dizionario Biografico degli Italiani and other reference works. Russo has presented his research internationally at major conferences and institutions, including the Renaissance Society of America, the Warburg Institute in London, the Musée Rodin in Paris, the Musée d’Orsay, and the Peggy Guggenheim Collection in Venice. His work focuses on the relationship between artistic form, historiography, collecting practices, and the material history of sculpture and painting.
He is a member of the Renaissance Society of America and the International Council of Museums and serves on the Authentication and Archiving Committee of the Fondazione Marino Marini.