Emily Thompson is a PhD student studying early modern Italian sculpture and gardens. She received her MA from Washington University in St. Louis in May 2018. Her minor field focuses on early modern cross cultural and artistic exchange between “East” and “West” from 1500-1700. Along with receiving her BA degree in Art History and Criticism from Webster University, she also has a degree in Chemistry and a certificate in International Languages focusing on Italian, German, and French. Before entering the program, she interned at the National Archives in the Preservation Department as a Paper Conservator.
In Spring of 2019 Emily wrote an exhibition entry on Hattie Hardt for the MFA19 Thesis Exhibition catalog published by Washington University in St. Louis. In Spring of 2018 Emily presented her research, “Prostitution in Early Modern Venice,” at the Technologies of Segregation in Early Modern Italian Cities Symposium funded by the Andrew W. Mellon Foundation’s “The Divided City: An Urban Humanities Initiative” at Washington University in St. Louis. In Spring of 2018 Emily presented her research, titled “Naturally Anthropocentric: Stefano della Bella’s Views of the Villa at Pratolino,” at the Midwest Art History Society conference (MAHS). In Fall of 2017 Emily presented a gallery talk at the Mildred Lane Kemper Art Museum titled, “Power Play: Stefano della Bella and the Views of the Villa Pratolino.” In Spring of 2017 Emily presented a gallery talk at the St. Louis Art Museum titled, “The Devil is in the Details: Giambologna’s Sleeping Venus and Satyr as Intellectual Exercise,” as a part of the museum’s SLAM Underground. In Spring of 2017 she published an exhibition review of Spectacle and Leisure in Paris: Degas to Mucha at Mildred Lane Kemper Art Museum, Degas, Impressionism and the Paris Millinery Trade at the St. Louis Art Museum, and Rosso: Experiments in Light and Form at the Pulitzer Arts Foundation titled, “If I Could Turn Back Time: St. Louis’ Time Hop to Belle Époque Paris” to the Internal Collaboration Network by the National Archives.