Barbara Baert Ehem. Senior Fellow

Barbara Baert
April - September 2015


Barbara Baert, born 1967, is Professor of Art History at Katholieke Universiteit Leuven, Belgium, and has been founder and coordinator of the Iconology Research Group, an international and interdisciplinary research platform, since 2006. As head of the research group, Baert is responsible for and collaborates with numerous international scholars from countries such as Germany, Israel, Netherlands, Great Britain or Italy. Before, she has directed further research projects that explored the role of iconology in medieval art. Additionally, Baert serves as an editor-in-chief of two book series called Studies in Iconology and Art & Religion: Whereas Studies in Iconology addresses general aspects of art theory and art history, Art & Religion is focused on the production and agency of Christian images. Baert received the highest scientific distinction in Belgium twice, that is the price of the Koninklijke Vlaamse Academie van België voor Wetenschappen en Kunsten (The Royal Flemish Academy of Belgium for Science and the Arts). From 2010 to 2013, Baert held the position as representative for Belgium at the European Standing Committee for Humanities (ESCF).

Stand: 2015


Medieval iconology; sacred topography; visual anthropology; relics and devotion; Medieval gender.



Echoes of Liminal Spaces. Late Medieval ‘Enclosed Gardens’ of the Low Countries. An Iconological Contribution to Gender Artistic Expression (=Studies in Iconology, 2). Leuven: 2016.
Nymph. Motif, Phantom, Affect. A Contribution to the Study of Aby Warburg (1866-1929) (=Studies in Iconology, 1). Leuven: Peters 2014.


The Woman with the Blood Flow. Narrative, Iconic, and Anthropological Spaces (=Art & Religion, 2). Leuven: Walpole 2014.
with Jenke van der Akkerveken, Ann-Sophie Lehmann: New Perspectives in Iconology. Visual Studies and Anthropology. Brussels: AspEditions 2012.
Fluid Flesh. The Body, Religion and the Visual Arts (=Lieven Gevaert Studies in Photography and Visual Studies). Leuven: Leuven University Press 2009.
with Kathryn Rudy: Weaving, Veiling, and Dressing. Textiles and their metaphors in the late Middle Ages (=Medieval Church Studies). Turnhout: Brepols 2007.


“Notes to the Pact between Veil and Wound”. In: Mateusz Kapustka (ed.): Bild-Riss. Textile Öffnungen im ästhetischen Diskurs (=Textile Studies, 7). Berlin: Gebr. Mann Verlag 2014, pp. 39-58.
“Nymphe (Wind). Der Raum zwischen Motiv und Affekt in der frühen Neuzeit (zugleich ein Beitrag zur Aby Warburg-Forschung”. In: Ars, 46/1, 2013, pp. 16-42.
“Wind und Sublimierung in der christlichen Kunst des Mittelalters. Essay über Pathos und Affekt”. In: Archaevs. Study in the History of Religions, 16, 2012, pp. 231-268.
“The Annunciation revisited. Essay on the Concept of Wind and the Senses in Late Medieval and Early Modern Visual Culture”. In: Critica d’arte, 47/48, 2011, pp. 57-68.
“The glorified Body. Relics, materiality and the internalized image”. In: Gerrit Rooiakkers, Paul Vandenbroeck (eds.): Backlit Heaven. Power and Devotion in the archdiocese Mechelen (=exhibition catalogue). Mechelen: Lannoo 2009, pp. 130-153.
“The Wood, the Water, and the Foot, or how the Queen of Sheba met up with the True Cross. With emphasis on the Northern European Iconography”. In: Mitteilungen für Anthropologie und Religionsgeschichte, 16, 2004, pp. 217-278.