newsletterThe Paul Mellon Centre for Studies in British Art -Yale University November 2007 Issue 25

A Passion for British Art:Collecting in the 20th Century

Friday 18 January 2008The Paul Mellon Centre for Studies in British Art

16 Bedford Square London WC1B 3JA Tel: 020 7580 0311 Fax: 020 7636 6730 www.paul-mellon-centre.ac.uk

J. M.W.Turner, “Dort, Dordrecht:The Dort Packet-Boat from Rotterdam Becalmed,” 1817-18, oil on canvas,Yale Center for British Art, Paul Mellon Collection

This one-day conference to be held at thePaul Mellon Centre for Studies in British Art,will discuss issues related to the collection ofthe late Paul Mellon (1907-1999), and theexhibition, ‘An American’s Passion for BritishArt, Paul Mellon’s Legacy’, at the Royal Academyof Arts, London (20 October 2007 - 27 January2008). Paul Mellon’s collection, which embracespaintings, watercolour s, drawings, pr ints,sculptures, rare books and manuscr ipts isamong the finest of its kind to have been

assembled in the twentieth century. Although itencompasses works from many periods andcultures, at the heart of the Mellon collectionare pictures from the ‘Golden Age’ of British art,from the mid-eighteenth to mid-nineteenthcentury. Among modern private collectors,however, Mr Mellon was not alone in hisappreciation of the merits of the British School,and this conference aims to set his achievementwithin the global context of modern andcontemporary collecting.

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Paul Mellon Centre conference

09.45 Registration

10.00 Welcome and opening remarksby Brian Allen

10.15 Professor David Cannadine(Queen Elizabeth the Queen MotherProfessor of British History,Institute of Historical Research)Father and Son as Collectors andPhilanthropists: AndrewW. Mellonand Paul Mellon Compared

11.00 Coffee break

11.30 Dr Shelley Bennett(Senior Research Associate,Huntington Library, Art Collectionsand Botanical Gardens)Henry and Arabella Huntington: Collecting andCultural Philanthropy in America c.1900

12.15 Andrew Wilton(Honorary Curator of Prints andDrawings, Royal Academy of Arts)Collecting BritishWatercolours and Drawingsin the 20th Century

13.00 Lunch

14.30 Dr Alison Smith(Curator, Head of Acquisitions,British Art Pre-1900,Tate Britain)Modern Collectors of Victorian Art

15.15 Angus Trumble(Curator of Paintings and Sculpture,the Yale Center for British Art)From Hubert von Herkomer to Kenneth Clark:Buying British Art for Australasia, 1899-1954

16.00 Tea

16.30 Louisa Buck(Contemporary Art correspondentfor the Art Newspaper)From Saatchi to Frieze: the Reception andAcquisition of Contemporary British Art atHome and Abroad

17.15 Closing remarks and discussion

18.00 - 19.00 Wine reception

Full conference fee £40.00(including coffee, lunch, tea and wine reception)

Student concessions are available at a reduced rate of £20.00

To register for the conference please send a cheque madepayable to The Paul Mellon Centre for Studies in British Art,to:Lucy NixonThe Paul Mellon Centre for Studies in British Art16 Bedford Square London WC1B 3JA(include a stamped addressed envelope)Tel: 020 7580 0311 Fax: 020 7636 6730Email: events@paul-mellon-centre.ac.uk

A Passion for British Art:Collecting in the 20th CenturyFriday 18 January 2008, Paul Mellon Centre for Studies in British Art

The Paul Mellon Centre Staff Director of Studies: Brian Allen. Assistant Director for Academic Activities: Martin Postle. Assistant Director for Administration: Kasha Jenkinson. Librarian: Emma Floyd.

Archivist: Emma Lauze. IT Officer: Maisoon Rehani. Administrative Assistant: Lucy Nixon. Yale-in-London Coordinator: Viv Redhead. Editor, Special Projects: Guilland Sutherland. Special Projects:

Elizabeth Einberg, John Ingamells, Mary Peskett Smith. Advisory Council: David Bindman, Julius Bryant, Andrew Causey, Maurice Howard, Joseph Koerner, Sandy Nairne, Lynda Nead,

Marcia Pointon, Elizabeth Prettejohn, Duncan Robinson, Michael Rosenthal, Kim Sloan. Company Registered in England 983028 Registered Charity 313838

Conference Programme

Morning session to be chaired by Professor Brian Allen (Director of Studies, Paul Mellon Centre for Studies inBritish Art). Afternoon session to be chaired by MaryAnne Stevens (Director of Academic Affairs, Royal Academyof Arts, London).

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Curatorial Research Grants

Beazley Archive, University of Oxford to helpsupport a research curator for two years on the projectto research, catalogue and publish The Arundel andMarlborough Collections of Engraved Gems and Cameos

National Portrait Gallery to help support aresearch curator for the final year of the project toresearch and publish the Gallery’s Catalogue of LaterVictorian Portraits

The Chapter of Peterborough Cathedral tosupport a research curator for one year to continue thearchitectural analysis and research on theWest Front ofPeterborough Cathedral

Plymouth City Museum and Art Gallery to helpsupport a research curator for two years to work on anexhibition and catalogue Sir Joshua Reynolds’s earlypatrons and Reynolds’s collection of works on paper

Educational Programme Grants

National Portrait Gallery ‘Brilliant Women:Gender and Intellect, Reputation and Representation’ atwo-day interdisciplinary and international conference atthe National Portrait Gallery, London, 25-26 April 2008

Royal West of England Academy ‘TheRepresentation of Night in Art’ a series of public lecturesand talks at the Royal West of England Academy, March-May 2008

University of Birmingham ‘Wyndham Lewis:Modernity and Critique’ a two-day interdisciplinaryconference at the Birmingham & Midland Institute, 25-26January 2008

Research Support Grants

Adriano Aymonino towards research costs andtravel in the UK for his doctoral thesis ‘The First Dukeand Duchess of Northumberland: Political Strategies,Patronage and Collecting in theAge of the GrandTour’

Hugh Brigstocke towards travel and researchcosts in Italy for work on ‘A Catalogue of Drawingsassembled byWilliam Ottley’

Patricia Crown towards travel and research costsin the USA for a publication on ‘Edward Francis Burney(1760-1848)’

Anne Dulau towards travel and research costs inthe UK for an essay on ‘Boucher and Chardin inEighteenth-century Britain’

Richard Hayes towards travel and research costs inthe UK for a publication on ‘John Ruskin and the Roadto Ferry Hinksey: Secular Volunteerism in Nineteenth-century England’

Ann Smart Martin towards travel and researchcosts in the UK for her book ‘Banish the Night:Illumination and Reflection in Early Modern Englandand America’

John Munns towards travel and research costs inthe USA for his doctoral thesis ‘The Crucified Body ofChrist: Cross, Passion, Image and Devotion in England,1066-1215’

Tania Sengupta towards travel and researchcosts in India for her doctoral thesis ‘Architectureof Governmental and Civic Domains - ColonialEncounter in District Towns, Bengal, British India’

Robert Tittler for travel and research costs in theUK for his book ‘Portraits, Painters and Publics in Post-Reformation England: the Canterbury Experience’

Kaylin Weber for travel and research costs in theUK for an exhibition and publication on ‘BenjaminWest and his Aesthetic Environment’

support for scholarship in British Art awards

Grant AwardsAt the November 2007 meeting of the Centre’s Advisory Council,the following grants were awarded:

Publication Grants (Author)

Susan Bennett ‘Cultivating the human faculties’:James Barry (1741-1806) and the Society of Arts

Jonathan Black & Brenda Martin Dora Gordine:Sculptor, Artist, Designer

Gill Clarke Representing theWomen’s Land Army

Hanneke Grootenboer Treasuring the Gaze:Intimacy and Extremity of Vision in Eye Miniature Portraits

Stanley Shepherd The Stained Glass Windows ofA.W.N. Pugin

Publication Grants (Publisher)

Ben Uri Gallery/London Jewish Museum ofArt Rachel Dickson & Sarah MacDougall (Eds),Whitechapel at War : Isaac Rosenberg and his circ le1911-1918

Berg Books Jenny Graham, Inventing Van Eyck:TheRemaking of an Artist for the Modern Age

Four Courts Press Michael McCarthy & KarinaO’Neill (Eds), Studies in the Gothic Revival

Gallery Oldham Stephen Whittle (Ed), CreativeTension – British Art 1950-2000

Hamilton Kerr Institute, University ofCambridge Paul Binski & Ann Massing (Eds), TheWestminster Retable: History,Technique, Conservation

National Galleries of Scotland Viccy Coltman &Stephen Lloyd (Eds), Henry Raeburn: Critical Receptionand International Reputation

National Gallery of Victoria, MelbourneTed Gott (Ed),Modern Britain: 1900-1960. MasterWorksfrom Australian and New Zealand Collections

National Museums Liverpool Jessica Feather,British Drawings and Watercolours in the Lady LeverArt Gallery

Public Monuments and Sculpture AssociationGeorge Noszlopy & FionaWaterhouse, Public Sculptureof Herefordshire, Shropshire and Worcestershire

Royal Pavi l ion & Museums, BrightonDavid Beevers (Ed), ChineseWhispers: Chinoiserie in Britain1650-1930

Southampton City Art GalleryTim Craven (Ed),Robert Bevan and The Cumberland Market Group

Sussex Academic Press Tessa Murdoch (Ed),Beyond the Border : Huguenot Goldsmiths in NorthernEurope and North America

Unicorn Press Timothy Wilcox, Laura Knight:Paintings and Drawings of the Ballet and the Stage

University of Chicago Press HannekeGrootenboer, Treasuring the Gaze: Intimacy and Extremityof Vision in Eye Miniature Portraits

Walpole Society Hugh Brigstocke (Ed), WalpoleSociety Volume for 200

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support for scholarship in British Art awards

The next application for Senior, Junior, Postdoctoral and Paul Mellon Centre RomeFellowships, Educational Programme and Research Support Grants is 15 January 2008.

For further details please visit:http://www.paul-mellon-centre.ac.uk/support.html

or contact the Grants Administrator atgrants@paul-mellon-centre.ac.uk

RICHARD PARKESBONINGTONThe Complet PaintingsPatrick Noon

Only twenty-five at the timeof his death in 1828, youngRichard Parkes Boningtonnevertheless was a seminalfigure in the developmentof modernism innineteenth-century Frenchpainting. By birth he wasAnglo-French, and heepitomized the new spiritof internationalism in whichConstable was honored bythe Academy in Paris in1824; Bonington was thereto witness the event.Mediating between the twotraditions, he explored thepotential of watercolour forfresh transient landscapesand drew inspiration notonly from Delacroix butalso from the work ofWalter Scott and Byron inhis history paintings.

This catalogue raisonné ofhis oil and watercolorpaintings represents the firstattempt to establish andpresent the artist’scomplete known oeuvre.Drawing on twenty-fiveyears of research, PatrickNoon catalogues, analyzes,and reproduces 400artworks now indisputablyattributed to Bonington,many of which have neverbefore been published.

The book sets Bonington’sachievement in the contextof the intellectual, social, andartistic ferment of highromanticism in Paris and

London and it shows theprofound effect of his styleon his friend andcontemporary, EugèneDelacroix, and many others.Noon’s detailed andaccurate study will informall future discourse onBonington and hisremarkable legacy.

Patrick Noon is Patrick andAimee Butler Curator ofPaintings and ModernSculpture, MinneapolisInstitute of Arts.

April 2008 Hardcover360pp. £85.00ISBN-13: 978-0300134216

SIR JOHN VANBRUGHStoryteller in StoneVaughan Hart

This engaging andbeautifully illustrated bookexamines the remarkablelife and work of Sir JohnVanbrugh (1664–1726), byturns businessman, soldier,playwright, and the architectof some of the mostimportant country housesof his era. Architecturalhistorian,Vaughan Hart,examines Vanbrugh’ssurviving, destroyed, andunrealized buildings—among them CastleHoward and BlenheimPalace—outlining thecontemporary political andsocial events that influencedtheir design and showinghow these strikingly original

buildings can be interpretedthrough reference toclassical mythology,Renaissance fortifications,and medieval houses.

March 2008 Hardcover£40.00ISBN-13: 978-0300119299

THE SILENT RHETORICOF THE BODYA History ofMonumental Sculptureand CommemorativeArt in England,1720-1770Matthew Craske

This illuminating and originalbook opens up a neglectedcorner of eighteenth-century art - the funeralmonument. In the lastforty years, studies of thesatires of early andmid-eighteenth-centuryEngland have multiplied,whereas its funerarymonuments have beenneglected by all but asmall group of enthusiasts.This book redresses thebalance and demonstratesthat tombs and inscriptionsare of manifest worthto the student ofeighteenth-century Englishvalue systems, providing asthey do an archaeology ofideal types. Across thegenres of art, there is,perhaps, no better registerof shifting notions of

correct behaviour, in life andin death. Matthew Craskelooks closely, for the firsttime, at tomb sculptures intheir social context.

He discusses a largenumber of monuments bymany different sculptors,enriched by a knowledge ofthe person commemoratedand the circumstancesbehind the commission.This results in a work ofgreat scholarly density andoriginality that probes themotives behind the imageryand the epitaph. He beginsby analysing the relationshipof tomb designs to thechanging and diverse cultureof death in the eighteenthcentury, and then explainsconditions of productionand the shifting dynamics ofthe market. He concludeswith a masterly analysis ofthe motivations of thosewho commissionedmonuments, includingwomen and ranging fromaristocrats to merchantsand professional people.This handsomely illustratedbook presents a uniquehistory of death, fame,example and attitudes toloss, as well as a remarkableart history.

February 2008 Hardcover£45.00ISBN-13:9780300135411

A FRAGILEMODERNISMWhistler and HisImpressionistFollowersAnna Gruetzner Robins

Whistler embarked on anew project in the 1880s,working on a small scale, inoil, pastel and watercolour,representing new London

Paul Mellon Centre publications

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Paul Mellon Centre publications

subjects and paintingportraits of new urbantypes.This book is the firstcritical study ofWhistlerand his Impressionistfollowers and offers an in-depth analysis of Whistler'sart as well as new insightsinto his modernist project.Anna Gruetzner-Robinsshows howWhistlerformed an avant-gardegroup around himself andsought out followers whoincluded ElizabethArmstrong Forbes,Mortimer Menpes,Theodore Roussel,WalterSickert and Sidney Starr, toemulate his art andproselytise on his behalf.Their reminiscences andwritings provide newinformation aboutWhistler's art, while theirown little-known work,much of which is publishedhere for the first time, is atestimony to its persuasiveeffect. Using a wealth ofprimary material,Gruetzner-Robins tracks thehistory ofWhistler and hisgroup and shows, throughtestimony and practice, thatthey were formulating anidentity as avant-gardeartists.This is the first criticalstudy of these Impressionistartists and throws new lighton this neglected aspect ofBritish art.

Autumn 2007 Hardcover256pp 90 b/w + 40 colourIllus £40.00ISBN-13:9780300135459

SOUTH AND EASTCLERKENWELLVolume 46

NORTHERNCLERKENWELL ANDPENTONVILLEVolume 47

Clerkenwell is one of themost varied, intricate andrichly historic districts ofEngland's capital city. Itschoice for study by theSurvey of London is a markboth of its age-oldfascination and of itscontemporary appeal.TodaySouthern Clerkenwell, justnorth of the City, hasbecome a fashionablelocation. It houses many inthe creative industries, itsrestaurants and bars arethronged, and its populationhas been rising for twodecades. NorthernClerkenwell, by contrast, haslong been acknowledged ashaving some of London'sbest Georgian housing andurban landscapes.There isalso an intriguingly mixedquarter beyond the Angeland Pentonville Road,reaching north intoIslington.The two parts ofClerkenwell are coveredseparately in these twointerlinked volumes, whichare available eitherseparately or as a pair.

Clerkenwell's presentprosperity is rooted in itspast. Its density of

development, its patterns ofland-use and its streetlayout are witnesses to anunbroken history, goingback to monasticfoundations.Within thecompass of the presentvolumes, the Survey ofLondon brings together theriches of the area, aiming toomit nothing of significance,old or new. In so doing, ithas created a practicalrecord, in words andimages, of enduring valueand usefulness for planners,residents, historians and thewider public.These volumesare the latest in the parishseries published, at regularintervals over the pasthundred years, by theSurvey of London.Theymark several newdepartures for the Survey.They are the first to havephotographs integratedwith the text alongside thehandsome architecturaldrawings for which theseries is famed.They alsomake widespread use ofcolour images for the firsttime.

South and East ClerkenwellVolume 46 April 2008400 pp. 305x235mm.400 illus. £75.00*ISBN 978-0-300-13727-9

Northern Clerkenwelland PentonvilleVolume 47 April 2008400 pp. 305x235mm.400 illus. £75.00*ISBN 978-0-300-13937-2

Special price forClerkenwell volumes46 & 47 £135.00*ISBN 978-0-300-14063-7

SLAVERY, SUGAR, ANDTHE CULTURE OFREFINEMENTPicturing the BritishWest Indies, 1700-1840Kay Dian Kriz

This highly original bookasks new questions aboutpaintings and printsassociated with the BritishWest Indies between 1700and1840, when the trade insugar and slaves was themost active and profitable.In a wide-ranging study ofscientific illustrations, scenesof daily life, caricatures andlandscape imagery, Dian Krizanalyses the visual culture ofrefinement thataccompanied the brutal

process in which Africanslaves transformed 'rude'sugar cane into pure whitecrystals.These worksvariously imagine Britain'sCaribbean colonies ascurious, frightening, deadly,pleasurable and even funnyfor viewers on both sides ofthe Atlantic. Refinement isusually associated with themetropole and 'rudeness'with the colonies. Andindeed, many of the artistsconsidered here successfullycapitalised on thosecharacteristics of rudeness-animality, sensuality andsavagery that increasinglycame to be associated withall the inhabitants of thesugar islands. But many of

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Paul Mellon Centre publications

the images and texts thatform the subject of thisbook complicate thisgeographical division. Artistssuch as the Italian AgostinoBrunias, working for aBritish colonial administratorin Dominica, and ScottishAcademician Joseph Kidd,whose brother was amerchant and local officialin the north of Jamaica,produced paintings andprints that offered thepossibility of colonialrefinement, not justeconomic profit and sexualpleasure.

Kay Dian Kriz is AssociateProfessor of Art History atthe Department of Historyof Art and Architecture,Brown University. She is theauthor of The Idea of theEnglish Landscape Painter,published by Yale UniversityPress.

May 2008288 pp. 256x192mm. 80b/w+ 40 colour illus. £35.00ISBN 978-0-300-14062-0

PAINTING OUT OF THEORDINARYModernity and the Artof Everyday Life inEarly Nineteenth-Century BritainDavid Solkin

At the height of theNapoleonicWars, London'sart world was taken bystorm by a new generationof painters, whose novelapproach to the depictionof everyday life critics loudlytrumpeted as a sign of thenation's cultural pre-eminence. Led by theprecociously talented DavidWilkie, this highly successfulartistic movement sought totransform what wasgenerally regarded as a low

and vulgar pictorialtradition, with its roots inseventeenth-centuryFlanders and Holland, into avehicle for entertaining butimproving narratives whichwould set new standards oftruthfulness in theirimitation of nature. But on adeeper level, as DavidSolkin shows in thisprovocative yet highlyaccessible study, the samephenomenon registered theambivalent feelings of acountry in the throes ofeconomic growth, and ofconflict both at home andabroad.

What emerges from theimagery ofWilkie and hiscolleagues – among themWilliam Mulready, EdwardBird and the controversialwatercolourist ThomasHeaphy – is a widespreadsense that the ordinary livesof the common people arebecoming increasinglybound up with theexceptional events of'history'; that traditionalboundaries betweencountry and city are in theprocess of melting away;and that a more regularisedand dynamic present iseverywhere encroachingupon the customarypatterns of the past. In itsfascination with thecompression of space andtime, early nineteenth-century British genrepainting locates itself at thestart of a trajectory linking

the art of the Age ofRevolution with thepostmodern culture of thepresent day.

Professor David Solkin isDean and Deputy,Courtauld Institute of Art.He is the author of Paintingfor Money:The Visual Arts andthe Public Sphere inEighteenth-Century Englandand the co-author andeditor of Art on The Line:TheRoyal Academy Exhibitions atSomerset House 1780-1836,both published by YaleUniversity Press.

May 2008 Hardcover384 pp. 295x248mm.100b/w + 150 colour illus.£45.00ISBN 978-0-300-14061-3

THE BUILDING OFELIZABETHAN ANDJACOBEAN ENGLANDMaurice Howard

The dissolution of themonasteries ravagedEngland in the 1530s andresulted in the greatdestruction of the builtfabric of the country. It wasalso, however, a time inwhich many new initiativesemerged. In the followingcentury, former monasterieswere adapted to a varietyof uses in both public andprivate buildings: royalpalaces and country houses,town halls and schools,almshouses and re-fashioned parish churches.No new towns were builtin England, but the urbanenvironment changedrapidly to reflect the needsof both national and localgovernment. Patrons ofbuilding spent sometimeswisely, some timesextravagantly, in managing abalance between their own

domestic projects andsponsoring civic buildingsthat promoted theircharitable image in post-Reformation society.In this beautiful andelegantly argued book,Maurice Howard revealsthat changes of style inarchitecture emerged fromthe practical needs ofconstruction and the self-image of major patrons inthe revolutionary centurybetween Reformation andCivil War, and he showshow the transformation ofthe country's stock ofbuildings was accompaniedby a new language both ofword and of vision, asbuilding accounts,government regulation andtheoretical writing on theone hand and pictorial

representation on the otherdirected new ways ofdocumenting the changedappearance of the buildingsin which people lived,worshipped and worked.

Maurice Howard isProfessor of Art History atthe University of Sussex.

January 2008256 pp. 275x245mm.50 b/w + 50 colour illus.£45.00ISBN 978-0-300-13543-5

ya l e c e n t e r f o r b r i t i s h a r t

1080 Chapel StreetP.O. Box 208280 New Haven,Connecticut06520-8280

www.yale.edu/ycba

Full details of the following exhibitions and programs can be found at www.yale.edu/ycba, by telephoning 001 203 432 2800, or by e-mailing ycba.info@yale.edu.

exhib it ions at the center

British Orientalist Painting, 1830–1925 7 February–28 April 2008Organized by Tate Britain in association with the Yale Center for British Art.

Pearls to Pyramids: British Visual Culture and the Levant, 1600–1830 7 February–28 April 2008Organized by the Yale Center for British Art. A New World: England’s First View of America6 March–1 June 2008Organized by the British Museum.

Joseph Wright of Derby in Liverpool6 May–31 August 2008Co-organized by the Yale Center for British Art and the Walker Art Gallery, Liverpool.

touring exhib it ions

Reflections on a Life with Horses: Paintings by Sir Alfred Munnings from the Paul Mellon Collection at the Yale Center for British Art Through 29 March 2008 at the National Sporting Library, Middleburg, Virginia

Paul Mellon’s Legacy: A Passion for British ArtThrough 27 January 2008 at the Royal Academy of Arts, London

Great British Watercolors from the Paul Mellon Collection at the Yale Center for British ArtThrough 13 January 2008 at The State Hermitage Museum, St. Petersburg, Russia

graduate student sympos ium

The Power of Beauty: Aesthetics, Politics, MoralitySaturday, 5 April 2008, 9 am–6:30 pmKeynote lecture 5:30 pm

This one-day graduate student symposium will explore the aesthetic, political, and moral power of beauty. The event concludes with a keynote lecture. The symposium is free and open to the public; advance registration is recommended. To register, please email ycba.research@yale.edu. Support for this symposium has been provided by the Andrew W. Mellon Foundation.

Benjamin West, Isaac’s Servant Tying the Bracelet on Rebecca’s Arm (detail), 1775, oil on canvas Yale Center for British Art, Paul Mellon Collection

publ icat ions

The Yale Center for British Art is pleased to announce the following new publications:

Joseph Wright of Derby: Art and Life in Liverpool, 1768-1785, edited by Alex Kidson, with contributions by Elizabeth Barker, Martin Hopkinson, Jane Longmore, and Sarah Parsons. Co-published by the Yale Center for British Art and the Walker Art Gallery, Liverpool, in association with Yale University Press, New Haven. November 2007.

Politics, Transgression, and Representation at the Court of Charles II, (Studies in British Art, vol. 18), edited by Catharine MacLeod and Julia Marciari Alexander, with essays by Tim Harris, Sheila O’Connell, Joseph Roach, Kevin Sharpe, Susan Shifrin, Andrew Walkling, Rachel Weil, and Steven Zwicker. Co-published by the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art, London. Distributed by Yale University Press. December 2007.

v is it ing fellows

January Sarah Tiffin, Curator, Asian Art pre-1970, Queensland Art Gallery, Australia

“False Nature: British Meditation on the Poison Tree of Java.”

February–March Mary Roberts, Senior Lecturer, Department of Art History and Theory, University of Sydney

“Visions of the Painter-Traveler: British Orientalist and Ottoman Portraits.”

March Hanneke Grootenboer, Research Leader, Royal Netherlands Academy of Arts and Sciences, University of Amsterdam

“Treasuring the Gaze: Intimacy and Extremity of Vision in Eye Miniature Portraits.”

April David Bindman, Andrew W. Mellon Foundation Senior Visiting Fellow, and Professor Emeritus of the History of Art, University College LondonResearch on subjects including Darwin and British art, and participation in the scholarly life of the Center.

May–June Mark Phillips, Professor, Department of History, Carleton UniversityResearch on historical illustration and the visualization of the past in Britain, circa 1740–1850, as part of a larger project on historical representation and the problems of distance and meditation in historical narrative.

guest fellow

AprilJongwoo Jeremy Kim, independent scholar

“Royal Academicians and the Crisis of Masculinity in Modern England.”