Guido Rebecchini read History of Art at the Università degli Studi di Roma “La Sapienza”, before going to the Università degli Studi di Siena, where he took a MA on the ‘Tradizione dell’Antico nel Medioevo e nel Rinascimento’. In 2000, he obtained his PhD at the Warburg Institute and has subsequently taught at the Università di Siena from 2001 until 2009 and at the New York University and Syracuse University study-abroad centres in Florence in the years 2010-2012. Guido joined The Courtauld Institute of Art in Autumn 2013 as Lecturer in Sixteenth-Century Southern European Art.

One strand of his research is focussed on the court of Mantua in the first half of the sixteenth century, especially on patronage and collecting. Related to this, is an ongoing interest in the figure, working methods and artistic output of Giulio Romano.

Outside Mantua, another strand of Guido’s research concerns the transition of Florence from a republican government to a duchy in the 1530s, and for what this has meant for the arts. In particular, he has focussed his research on Cardinal Ippolito de’ Medici and his cousin Alessandro de’ Medici, on their political and related artistic strategies, and cultural politics in general.

He is currently working on urbanism and the visual culture in Rome during the pontificate of Paul III (1534-1549) for a book-length project.

• Sixteenth-century Italian art, politics and urbanism, especially in Rome
• Courtly art and culture, with a focus on Mantua
• Giulio Romano
• History of collecting and antiquarian studies

• Grant application: Small Grant, British Academy / Leverhulme Trust, title of project: Contested Memory: Conflict, Identityand Heritage of the Medici Family in Early Modern Europe, 2016
• Villa I Tatti. The Harvard University Center For Italian Renaissance Studies. Lila Acheson Wallace - Reader’s Digest Publications Subsidy to assist the publication of the book “Un altro Lorenzo”. Il cardinale Ippolito de’ Medici tra Firenze e Roma (1510-1535), Venice, Marsilio, 2010.
• Center for Advanced Studies in the Visual Arts (CASVA), National Gallery of Art, Washington D.C., Paul Mellon Senior Visiting Fellowship. 2007 (Sept.-Oct.).
• Project: The Artistic and Literary Patronage of Cardinal Ippolito de’ Medici (1529-1535).
• Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, Florence. I Tatti Fellowship, 2004-2005. Project: The Court and Patronage of Cardinal Ippolito de’ Medici. 
• Università degli Studi di Siena, Scuola Superiore di Studi Umanistici. Post-doc fellowship, 2004-2005. Project: Collecting as a Historical and Anthropological Phenomenon.
• The Warburg Institute, University of London. Erasmus Fund. 2002. Grant to assist the publication of the book Private Collectors in Mantua, 1500-1630.
• British Academy, Postgraduate Studentship,1998-1999.
• University of California, Berkeley, Department of Italian Studies. Research Associate, 1998.
• Università degli Studi di Roma ‘La Sapienza’. Grant for spending one year at the Warburg Institute, University of London, 1997-1998.
• Accademia Nazionale dei Lincei / The British Academy. Grant for spending four months at The Warburg Institute, University of London,1997.

• BA History of Art Year 2: Texts and Contexts course: Mannerism
• BA History of Art Year 2: Lessons in Interpretation lecture series: Titian’s Portrait of the Vendramin Family in the National Gallery
• MA History of Art: Continuity and Innovation: Reframing Italian Renaissance Art from Masaccio to Michelangelo

• Anna Merlini, Symbolic images and the construction of knowledge: Encounters between scholars and artists in 16th-century Bologna
• Saida Bondini, ‘Decorating Chapels: Networks of Family Patronage in Late Fifteenth-century Bologna. Between Private Piety and Political Self-definition’, co-supervised with Dr Nicolas Bock (Université de Lausanne)
• Bryony Bartlett-Rawlings, ‘Nicoletto da Modena and the Centres of Early Italian Print Production 1490-1530’, co-supervised with Dr Scott Nethersole
• Tatiana Bissolati, ‘Printing Raphael, 1510-1550: Imitation, Invention and Transformation’