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Moritz Lampe studied art history in Leipzig and Rome. After spending time as a scholarship holder at the Kunsthistorisches Institut in Florence, the Warburg Institute in London and the Università degli Studi in Florence – where he obtained his PhD in 2015 with a thesis on the art theory of the Italian Renaissance – he worked as a postdoctoral researcher and archivist in the photo library of the Institute of Art History in Florence. He subsequently led a DFG project on the history of photography in Italy at the University of Leipzig. After completing part-time studies in Library and Information Science in Berlin, he has been a subject specialist for art and design at the University Library of the Bauhaus-Universität Weimar since 2023. His interests include funerary art, memorial culture, the history of photography, artists’ biographies and books.

Monographs

The Involuntary Self-Portrait: Automimesis and Self-Referentiality in the Art Literature of the Italian Renaissance. Arthistoricum.net, Heidelberg 2022, www.doi.org/10.11588/arthistoricum.923

Discriminatory Terms and Systems of Knowledge in the Image Archive: A Postcolonial Perspective Using the Example of the ‘Bildindex der Kunst und Architektur’, Berliner Handreichungen zur Bibliotheks- und Informationswissenschaft, Issue 481, Berlin 2021, www.doi.org/10.18452/23766

Between End-Time Expectations and Representation: The Epitaph of Heinrich Heideck (1570–1603) from St Paul’s University Church in Leipzig, Plöttner Verlag, Leipzig 2009, https://www.academia.edu/32296238/

Anthologies

Photographic Practices and the Making of Religion, De Gruyter, Berlin/Boston, 2025, https://doi.org/10.1515/9783111208930

Articles

Snapshots of a Crime: Saint Agostina Pietrantoni and the Devotional Portrait in the Age of Photography, in: Tine van Osselaer (ed.): ‘Gazing at Death and the Dead in Western Europe, ca. 1750–2000’ [To be published in 2026]

Queering Spaces. Artistic Interventions in the Library of the Bauhaus-Universität Weimar, in: AKMB-news, Information on Art, Museum and Library, Issue 1, 2026 (jointly with Carsten Saeger) [To be published in 2026]

‘Soon they will carry out through the gate the only son of a mother, and she was a widow’ Protestant funeral practices and the epitaph for Heinrich Heideck, in: Rudolf Hiller von Gaertringen (ed.): ‘Splendour and Glory. The Epitaphs of St Paul’s University Church in Leipzig in the Light of Their Restoration and New Studies’, Passagen-Verlag, Leipzig [to be published in 2026]

Visual Evidence and the Materiality of Photographs in the Making of Religion, in: Moritz Lampe (ed.): ‘Photographic Practices and the Making of Religion’, De Gruyter, Boston/Berlin, 2025, pp. 3–23, https://doi.org/10.1515/9783111208930-002

Book Art at the Bauhaus: Anny Wottitz and the Afterlife of the Whitman Print Sheets from the Utopia Publishing House in Weimar, in: Marginalien: Journal of Book Art and Bibliophilia, Issue 254, 2024, pp. 18–34.

The exhibit ‘Song of Myself – Walt Whitman in Weimar’ at the Library of the Bauhaus-Universität Weimar and the artist’s book between 1923 and 2023, in: AKMB-news, Information on Art, Museums and Libraries, Issue 1, 2024, pp. 36–40.

Close Encounters. A photographic relic of Saint Don Giovanni Bosco from 1902, in: Rundbrief Fotografie, Issue 119, 2023, pp. 4–7, www.doi.org/10.1515/rbf-2023-3003

Machine Image and Belief in Miracles. Photographic Practices and Catholic Modernity in Italy, in: Fotogeschichte, Issue 167, 2023, pp. 60–65.

The Sculptor Topolino in Vasari’s *Lives*: A Case of ‘Clumsy’ Automimesis, in: Marco Fernadelli, Ermanna Panizon, Teresa Travaglia (eds.): ‘Vivendo vincere saecula: Reception and Tradition of Antiquity’, EUT, Trieste 2022, pp. 191–207, http://hdl.handle.net/10077/34408

Photoceramic Portraits and Bourgeois Memoria: On the Self-Representation of the Giacomo Brogi Family of Photographers at the Cimitero delle Porte Sante in Florence, in: T. Bartsch, R. Bockmann, P. Pasieka, J. Röll (eds.): ‘Factuality and the Use of Early Photography: International Symposium of the Photo Archives of the German Archaeological Institute in Rome and the Bibliotheca Hertziana – Max Planck Institute for Art History’, Harrassowitz Verlag, Wiesbaden 2021, pp. 63–82, https://www.academia.edu/44935263/

Like with Like? Similarity and Metamorphosis in Renaissance Portraits of Married Couples. In: J. Dellith, J. Gebhardt, D. Roberts (eds.): ‘Recycle – (Re-)Invent. Paths of Reception from Byzantium to the Modern Era’, Passage Verlag, Leipzig 2021, pp. 64–75.

New Images for New Saints. A Post-Mortem Photography by Francesco De Federicis as a Legal Object and Martyr’s Icon. In: Kritische Berichte – Journal of Art and Cultural Studies, Vol. 47, No. 1, 2019, pp. 58–68, www.doi.org/10.11588/kb.2019.1.93213

The Unintentional Self-Portrait as an Ox. Benvenuto Cellini’s Theory of Imitation as Reflected in Vincenzio Borghini’s ‘Selva di notizie’. In: B. Kuhn (ed.): ‘Self-Image and Self-Images. Self-Portrait and Time in Literature, Art and Philosophy.’ Wilhelm Fink Verlag, Munich 2016, pp. 73–98 and 375–377, www.doi.org/10.30965/9783846759363_006

Encyclopaedia and handbook entries

Photography, in: Daria Pezzoli-Olgiati et al. (eds.): ‘Religion – Media – Culture: An Interdisciplinary Handbook for Research and Studies’, Nomos-Verlag, Baden-Baden [forthcoming 2027]

George and Paul Heermann, in: ‘Saur – General Encyclopaedia of Artists’. Published by K.G. Saur Verlag, Munich–Leipzig, Vol. 71, Munich 2011, pp. 47–48.

Hans Hacke, in: ‘Saur – General Encyclopaedia of Artists’. Published by K.G. Saur Verlag, Munich–Leipzig, vol. 67, Munich 2010, pp. 143–144.

Wilhelm Gulden, in: ‘Saur – General Encyclopaedia of Artists.’ Published by K.G. Saur Verlag, Munich–Leipzig, Vol. 65, Munich 2009, p. 425.

Reviews

Tommaso Caliò (ed.): *Santi in posa. L’influsso della fotografia sull’immaginario religioso*, Rome 2019. In: *Cristianesimo nella storia*, No. 3, 2020, pp. 911–914, doi.org/10.17395/99644

Holger Steinemann: Visual Media Theory between Representation and Effect. Cardinal Gabriele Paleotti’s ‘Discorso intorno alle imagini sacre e profane’ (1582) (Studies in Art History, Vol. 164), Hildesheim 2006. In: ‘Kunstform 11 (2010), No. 06.’ www.sehepunkte.de/2010/06/11264.html