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Il marmo spirante: Sculpture and Experience in Seventeenth-Century Rome (Berlin: Akademie Verlag / Leiden: Leiden University Press, 2013).
Synagonism: Theory and Practice in Early Modern Art, ed. with Yannis Hadjinicolaou and Markus Rath (Leiden & Boston: Brill, 2024), DOI: https://doi.org/10.1163/9789004693142.
Città tangibili: Materialità e identità in Italia meridionale, ed. with Stefano D'Ovidio and Tanja Michalsky (Rome: Campisano, 2020).
Nature and the Arts in Early Modern Naples, ed. with Frank Fehrenbach (Berlin & Boston: De Gruyter, 2020).
The Secret Lives of Artworks, ed. with Caroline van Eck and Elsje van Kessel (Leiden: Leiden University Press, 2014).
Paragone als Mitstreit, ed. with Yannis Hadjinicolaou and Markus Rath (Berlin: Akademie Verlag, 2014).
‘Slow Violence: Jusepe de Ribera and the Limits of Naturalism’, Oxford Art Journal 41/1 (2018), pp. 1–17.
‘The Materiality of Enchantment: Rethinking Neapolitan Baroque Marble Intarsia’, Open Arts Journal 6 (2018), pp. 67–83.
‘Campania felix? Reframing the Neapolitan Still Life’, Nuncius: Journal of the Material and Visual History of Science 32/3 (2017), pp. 615–639.
‘A Fiammingo in Rome: Artus Quellinus and the Origins of the Northern Baroque Bust’, The Rijksmuseum Bulletin 64/2 (2016), pp. 121–138.
‘Senza sostanza di corpo? Bernini and the Problem of the Sculptor’s Drawing’, Sculpture Journal 24/1 (2015), pp. 23–35.
‘Celano’s Naples: Itineraries Through a Material City’, Incontri: Rivista europea di studi italiani 29/1 (2014), pp. 66–77.
‘Guido Reni and the Poets: Painting Through a Different Lens’, Fragmenta: Journal of the Royal Netherlands Institute in Rome 5 (2014), pp. 189–211.
‘Geology and Imagery in the Kingdom of Naples: A Letter on the Origins of Alabaster (1696)’, Kritische Berichte 40/3 (2012), pp. 64–77.
‘Bernini’s Metamorphosis: Sculpture, Poetry, and the Embodied Beholder’, Word & Image: A Journal of Verbal Visual Enquiry 28/2 (2012), pp. 193–205.
‘Hoc opus exculpsit Io. Bologna. Andreas Andreanus Incisit: Andrea Andreani en de grafische reproductie van Giambologna’s beeldhouwwerken’, Bulletin van het Rijksmuseum 55/1 (2007), pp. 14–39; English abstract pp. 99–102.
‘Touch and Trace: Clay in the Hands of the Baroque Sculptor’, in: Synagonism: Theory and Practice in Early Modern Art, ed. by Yannis Hadjinicolaou, Joris van Gastel, and Markus Rath (Leiden & Boston: Brill, 2024), pp. 70–99. https://doi.org/10.1163/9789004693142_004
‘Behind the Mask: Social Satire in Bernini’s Caricatures and Comedies’, in: Changing Satire: Transformations and Continuities in Europe, 1600–1830, ed. by Cecilia Rosengren, Per Sivefors, and Rikard Wingård (Manchester: Manchester University Press, 2022), pp. 188–208.
‘Il mio amico particolare: Gian Lorenzo Bernini und seine Dichter’, in: Pro Domo: Kunstgeschichte in eigener Sache, ed. by Matthias Krüger, Léa Kuhn, and Ulrich Pfisterer (Paderborn: Fink, 2021), pp. 41–52.
‘A Porous Baroque: Nature and Art at Palazzo Donn’Anna and Beyond’, in: Nature and the Arts in Early Modern Naples, ed. by Frank Fehrenbach and Joris van Gastel (Berlin & Boston: De Gruyter, 2020), pp. 193–208.
‘Carved with a Knife: Continuities and Disruptions in the Materiality of Lecce’s Early Modern Sculpture’, in: Città tangibili. Materialità e identità in Italia meridionale, ed. by Stefano D’Ovidio, Joris van Gastel and Tanja Michalsky (Rome: Campisano, 2020), pp. 201–19.
‘Percorsi nella materialità dell’arte in Italia meridionale del Medioevo al Novecento’ (with Stefano D’Ovidio), in: Città tangibili: Materialità e identità in Italia meridionale, ed. by Stefano D’Ovidio, Joris van Gastel and Tanja Michalsky (Rome: Campisano, 2020), pp. 7–18.
‘Baroque Bodies: Artistic Role Play in Seventeenth-Century Rome’, in: Caravaggio – Bernini: Early Baroque in Rome, exhib. cat. Kunsthistorisches Museum, Vienna and Rijksmuseum Amsterdam, ed. by Frits Scholten and Gudrun Swoboda (Veurne: Hannibal, 2019), pp. 68–78; German ed. ‘Barocke Körper: Künstlerisches Rollenspiel im Rom des 17. Jahrhunderts’, in: Caravaggio und Bernini: Entdeckung der Gefühle, exhib. cat. Kunsthistorisches Museum, Vienna and Rijksmuseum Amsterdam, ed. by Frits Scholten and Gudrun Swoboda (Munich: Prestel, 2019), pp. 68–79.
‘Titian’s Tenderness in Translation: The Sculpted Putto between Rome, Antwerp, and Amsterdam’, in: La fortuna dei Baccanali di Tiziano nell’arte e nella letteratura del Seicento, ed by Stefan Albl and Sybille Ebert-Schifferer (Rome: Campisano, 2019), pp. 235–54.
‘Dressed in Marble: Stoffwechsel and Ephemerality in Baroque Naples: The High Altar of San Domenico Maggiore’, in: Steinformen: Materialität, Qualität, Imitation, ed. by Isabella Augart, Maurice Saß, and Iris Wenderholm (Berlin: De Gruyter, 2018), pp. 130–151.
‘Controversial Continuities: Giacinto Gimma and the Art of Marble Intarsia’, in: Radical Marble, ed. by J. Nicholas Napoli and William Tronzo (Abingdon: Routledge, 2018), pp. 43–71.
‘Auf fruchtbarem Boden: Das neapolitanische Stillleben’, in: Caravaggios Erben: Barock in Neapel, exhib. cat. Museum Wiesbaden, ed. by Peter Forster, Elisabeth Oy-Marra and Heiko Damm (Munich: Hirmer, 2016), pp. 226–37.
‘Body and Clay: Material Agency from a Seventeenth-Century Perspective’, in: Material Bernini: Clay, Ink, Stone, ed. by Evonne Levy and Carolina Mangone (Aldershot: Ashgate, 2016), pp. 105–20.
‘Ambiguities of the Flesh: Touch and Arousal in Roman Baroque Sculpture’, in: Magische Bilder: Techniken der Verzauberung in der Kunst vom Mittelalter bis zur Gegenwart, ed. by Uwe Fleckner and Iris Wenderholm (Berlin: De Gruyter, 2016), pp. 161–81.
‘Mirroring Movement: Bernini in the Studio and on Stage’, in: Mouvement. Bewegung: Über die dynamischen Potenziale der Kunst, ed. by Andreas Beyer and Guillaume Cassegrain (Berlin/Munich: Deutscher Kunstverlag, 2015), pp. 75–94.
‘Life, But Not as We Know It: Death and the Wax Image’, in: Bildakt at the Warburg Institute, ed. by Jürgen Trabant and Sabine Marienberg (Berlin: Akademie Verlag, 2014), pp. 231–51.
‘Bodies Made Present: Sculptures over Saintly Tombs in Seventeenth-Century Rome’, in: The Secret Lives of Artworks, ed. by Caroline van Eck, Joris van Gastel and Elsje van Kessel (Leiden: Leiden University Press, 2014), pp. 242–61.
‘Introduction: Exploring the Boundaries between Art and Life’ (co-author), in: The Secret Lives of Artworks, ed. by Caroline van Eck, Joris van Gastel and Elsje van Kessel (Leiden: Leiden University Press, 2014), pp. 7–20.
‘Beyond the Niche: The Many Sides of Baroque Sculpture’, in: Paragone als Mitstreit, ed. by Joris van Gastel, Yannis Hadjinicolaou and Markus Rath (Berlin: Akademie Verlag, 2014), pp. 57–78.
‘Paragone als Mitstreit / Paragone as Comradeship’ (co-author), in: Paragone als Mitstreit, ed. by Joris van Gastel, Yannis Hadjinicolaou and Markus Rath (Berlin: Akademie Verlag, 2014), pp. 15–47.
‘When the Bust Speaks Back: Physiognomy and Identity in Italian Baroque Portrait Sculpture’, in: The Challenge of the Object / Die Herausforderung des Objekts (conference proceedings, CIHA 2012) ed. by G. Ulrich Großmann and Petra Krutisch (Nuremberg: Germanisches Nationalmuseum, 2013), vol. 1, pp. 282–85.
‘Michelangelo’s Lesson: The Baroque Bozzetto between Creation and Destruction’, in: Das haptische Bild: Körperhafte Bilderfahrung in der Neuzeit, ed. by Markus Rath, Jörg Trempler and Iris Wenderholm (Berlin: Akademie Verlag, 2013), pp. 209–25.
Review of: Anne Bloemacher, Mandy Richter, and Marzia Faietti, eds., Sculpture in Print, 1480–1600 (Leiden & Boston: Brill, 2022), in: Print Quarterly 39/4, pp. 456–60.
Review of: Stefano Pierguidi, Pittura di marmo: Storia e fortuna delle pale d’altare a rilievo nella Roma di Bernini (Firenze: Olschki, 2017), in: Renaissance Quarterly 71/3 (2018), pp. 1067–1068.
‘Painting and Economics in Baroque Naples’, review of: Christopher R. Marshall, Baroque Naples and the Industry of Painting: The World in the Workbench (New Haven: Yale University Press, 2016) in: Art History 41/1 (2018), pp. 205–207.
Review of: J. Nicholas Napoli, The Ethics of Ornament in Early Modern Naples: Fashioning the Certosa di San Martino (Farnham: Ashgate, 2015) in: Renaissance Quarterly 69/3 (2016), pp. 1058–1059.
Review of: Dietrich Boschung and Chistiane Vorster, eds., Leibhafte Kunst: Statuen und kulturelle Identität (Munich: Wilhelm Fink 2015) in: Kunstform and Sehepunkte 15/9 (2015).
Review of: Ludovic Coupaye, Growing Artefacts, Displaying Relationships: Yams, Art and Technology amongst the Nyamikum Abelam of Papua New Guinea (New York / Oxford: Berghahn, 2013) in: Kunstform 16/2 (2015) and Sehepunkte 15/2 (2015).
Review of: Melissa Calaresu and Helen Hills, eds., New Approaches to Naples, c. 1500–c. 1800: The Power of Place (Farnham: Ashgate, 2013) in: Renaissance Quarterly 67/3 (2014), pp. 990–991.
Review of: Timothy J. Standring and Martin Clayton, Castiglione: Lost Genius (London: Royal Collection Trust, 2013) in: Kunstform 15/3 (2014) and Sehepunkte 14/3 (2014).
