Dr. Elisa Bernard

Elisa Bernard, Ph.D. (IMT School for Advanced Studies, Lucca, Italy, 2023), is Wissenschaftliche Mitarbeiterin at the Institute for Classical Archaeology at the Friedrich-Alexander-Universität Erlangen-Nürnberg. Furthermore, she is a Guest Scholar at the IMT School for Advanced Studies Lucca and the University of Padua, Italy. Her research interests encompass three primary areas: the relationship between artifacts, images, and texts as documentary sources for reconstructing social and cultural interactions and contexts in Greco-Roman antiquity (especially the relationship between words and images, and the notion of authenticity in art production and consumption); the legacy inherited by Western cultures from ancient Greek and Roman civilizations and art, including the phenomenon of post-antique art forgery; and the history of heritage protection and museums in Italy. Elisa Bernard has served as assistant curator for the exhibition „The Instant and the Eternity. Between Us and the Ancients“ (Rome, Museo Nazionale Romano, 2023). She is also a member of the editorial boards of Eidola: International Journal of Classical Art History and Predella: Journal of Visual Arts.

Elisa Bernard, Ph.D. (IMT School for Advanced Studies, Lucca, Italien, 2023), ist Wissenschaftliche Mitarbeiterin am Institut für Klassische Archäologie der Friedrich-Alexander-Universität Erlangen-Nürnberg. Sie ist außerdem Gastwissenschaftlerin an der IMT School for Advanced Studies Lucca und der Universität Padua, Italien. Ihre Forschungsinteressen umfassen hauptsächlich drei Bereiche: das Verhältnis zwischen Artefakten, Bildern und Texten als dokumentarische Quellen zur Rekonstruktion sozialer und kultureller Interaktionen und Kontexte in der griechisch-römischen Antike (insbesondere des Verhältnisses zwischen Wort und Bild und des Begriffs der Authentizität in Produktion und Konsum von Kunst); das Vermächtnis der antiken griechischen und römischen Zivilisationen und Kunst in westlichen Kulturen, darunter das Phänomen der nachantiken Kunstfälschung; und die Geschichte des Kulturerbeschutzes und der Museen in Italien. Elisa Bernard fungierte als Assistenzkuratorin der Ausstellung „The Instant and the Eternity. Between Us and the Ancients“ (Rom, Museo Nazionale Romano, 2023). Sie ist zudem Mitglied des Herausgebergremiums von Eidola: International Journal of Classical Art History und Predella: Journal of Visual Arts.

Curriculum vitae

2014	BA, with honors, Archaeology, University of Padua, Italy
2017	MA, with honors, Archaeological Sciences, University of Padua, Italy
2017	University Graduate Fellow, Classical Archaeology, University of Padua, Italy
2020 – 2022	Guest Scholar, History of Art Criticism and Museology, IULM University, Milan, Italy
2023	Ph.D., Cognitive and Cultural Systems – Analysis and Management of Cultural Heritage, IMT School for Advanced Studies Lucca, Italy. Thesis: Museums as Living Organisms. A Historical Perspective on Change and Continuity in Museum Institutions.
2022 – 2024	Post-doctoral Fellow, IMT School for Advanced Studies Lucca, Italy
2022 –	Guest Scholar, History of Classical Art, University of Padua, Italy
2024 –	Guest Scholar, IMT School for Advanced Studies Lucca, Italy
2024 –	Wissenschaftliche Mitarbeiterin, Institute for Classical Archaeology, Friedrich-Alexander-Universität Erlangen-Nürnberg, Germany

Publications

Journal articles and book chapters

Bernard, E. (2025) [forthcoming]. Permanence or Impermanence: Dissent within Historic Museum Exhibits. In F. Caponigri, V. Morea, & A. Pirri Valentini A. (Eds.). Contestation, Reinvention, and Regulation of Cultural Heritage Through Dissent. Springer.

Bernard, E., & Giombini, L. (2025) [forthcoming]. Originali e copie. ‘Modelli’ di autenticità per l’arte moderna e l’arte classica. In Salvadori, M., Zamparo, L. (Eds.). A tutela del vero, atti del convegno (Venezia-Padova 2023). Istituto Veneto di Lettere, Scienze ed Arti.

Bernard, E. (2022). Living museums and societal change. The National Museum of Palermo between the 1860s and the 1950s. Mare Internum. Archeologia e culture del Mediterraneo, 14, 9–25.

Bernard, E. (2022). The Repatriation of Archaeological Property and Its Dilemmas: Reflections on the Italian Case. In M. Salvadori, E. Bernard, L. Zamparo, & M. Baggio (Eds.). Beyond Forgery. Collecting, Authentication and Protection of Cultural Heritage (pp. 427–440). Padova University Press.

Bernard, E. & Catoni, M.L. (2022). Museums as living organisms. Temporality and change in museum institutions. Il Capitale Culturale. Studies on the Value of Cultural Heritage, 26, 109–139. doi: 10.13138/2039-2362/2793.

Bernard, E. (2021). Exploring Authenticity Through Classical Art: Originals, Fakes and Copies. Studies in Conservation, 67 (1-2), 38–49. doi: 10.1080/00393630.2021.1970461.

Bernard, E. (2021). Nationalism versus “identity pluralism”? Preserving and valorizing archaeological heritage. International Journal of Constitutional Law, 19 (5), 1690–1709. doi: 10.1093/icon/moab135.

Bernard, E. (2020). Art and Archaeological Fakes on Display: Forty years of Temporary Exhibitions (1915-1955). Il Capitale Culturale. Studies on the Value of Cultural Heritage, 22, 275–314. doi: 10.13138/2039-2362/2341.

Salvadori, M., Baggio, M., Bernard, E., & Zamparo, L. (2020). Il “Progetto MemO” e lo studio dei falsi tra ricerca, didattica ed educazione alla legalità. Note preliminari sulla collezione Marchetti (Padova). In Falso! Il patrimonio culturale e la difesa dell’autenticità, Atti del Convegno (Roma, Palazzo Altemps, 25-27 ottobre 2018) (pp. 105–132). Edizioni Efesto.

Bernard, E. 2019. Serial forger? The Pseudo-Apulian Vases in the Marchetti Collection in Padua. In M. Baggio, E. Bernard, M. Salvadori, & L. Zamparo (Eds.). Anthropology of Forgery. A Multidisciplinary Approach to the Study of Archaeological Fakes (pp. 145–164). Padova University Press.

Salvadori, M., & Bernard, E. (2019). Carlo Anti e l’approccio esegetico all’iconografia antica. In by I. Favaretto, F. Ghedini, P. Zanovello, & E.M. Ciampini (Eds.). Anti. Archeologia. Archivi (pp. 365–394). Istituto Veneto di Scienze, Lettere ed Arti.

Salvadori, M., Baggio, M., Bernard, E.&, Zamparo, L. (2018). Il falso nelle collezioni archeologiche: dall’autenticazione alla promozione della legalità. In L’arte non vera non può essere arte, Atti del ciclo di conferenze promosse dal Comando Carabinieri TPC, in collaborazione con il Consiglio Nazionale Anticontraffazione (CNAC-MiSE), il Ministero per i beni e le attività culturali e l’Università degli Studi Roma Tre, ottobre-dicembre 2017 (pp. 491–500). Edizioni Efesto.

Bernard, E. (2016). La gestualità del dolore rituale tra parole e immagini. La Rivista di Engramma, 139, 11–79. <http://www.engramma.it/eOS/index. php?id_articolo=3024>.

Edited books

Salvadori, M., Bernard, E., L. Zamparo, L., & Baggio, M. (Eds.). (2022). Beyond Forgery. Collecting, Authentication and Protection of Cultural Heritage. Padova University Press.

Baggio, M., Bernard, E., Salvadori, M., & L. Zamparo (Eds.). (2019). Anthropology of forgery. A Multidisciplinary Approach to the Study of Archaeological Fakes. Padova University Press.

Catalogue entries

Bernard, E. (2023). Statuetta di Cupido (cat. II.2); Sarcofago con scene della presa di Troia (Ilioupersis) (cat. II.8); Giara (pithos) con l’accecamento di Polifemo, da Caere (?) (cat. II.13); Statuetta di Pan, da Alba Fucens (L’Aquila) (cat. II.21); Affresco con venditrice di amorini, da Stabiae, Villa Arianna (cat. IV.16); Rilievo con fanciulle danzanti, da Roma, via Prenestina (cat. IV.17); Vaso per l’acqua (hydria) con bottega di ceramografi, da Ruvo di Puglia (Bari) (cat. IV.27); Antique not antique: self- portrait as a crying Roman togatus (cat. V.43); Sarcofago con scene di soggetto dionisiaco, da Roma, via Casilina (cat. V.77); Cratere a campana con Dioniso e Oinopion / Zeus e Dioniso, da Spina, necropoli di Valle Trebbia (cat. V.81). In M. Osanna, S. Verger, M.L. Catoni, & D. Athanasoulis (Eds.). L’istante e l’eternità. Tra noi e gli antichi, catalogo della mostra (Roma, Museo Nazionale Romano, Terme di Diocleziano, 4 maggio-30 luglio 2023). Electa.

Book and exhibition reviews

Bernard, E. (2022). Alceo Dossena e il Rinascimento italiano dell’Otto-Novecento. Recensione alla mostra Il falso nell’arte. Alceo Dossena e la scultura italiana del Rinascimento (Rovereto, Mart 3 ottobre 2021 – 27 febbraio 2022). Authenticity Studies. International Journal of Archaeology and Art, 1, 197–203. doi: 10.14658/PUPJ-AS-2022-1-15.

Bernard, E. (2020). Il fake e l’arte contemporanea. Recensione a T. Casini, L. Lombardi (a cura di), The gentle art of fake. Arti, teorie e dibattiti sul falso, Milano: Silvana Editore 2019. Predella. Journal of Visual Arts, 47, 191–195, CXVII-CXXI. http://www.predella.it/index.php/current-issue/index/60-47-misce/587-47-misce-10-bernard.html.