Among British poets of the mid-eighteenth century therewas, for some, a sense of haitus, and of their own inadequacyas the heirs to Shakespeare, Milton and Pope. On the otherhand, painters at the time looked enviously at the status ofpoetry, seeking, in Reynolds’s words, to ‘acquire for theirprofession the name of a Liberal Art, and rank…as a sisterof poetry.’ In these lectures, Duncan Robinson attempts toshow the importance of literature in the broadest sense, inthe development of the visual arts in Britain. For Hogarth‘my picture was my stage,’ and his scenes from life as he sawit paved the way for that narrative tradition in Englishpainting so beloved of the Victorians. From his lectern,Reynolds not only discoursed on art but raised the bar forhis profession by insisting that the student at the Royal

Academy Schools must ‘warm his imagination with thebest productions of ancient and modern poetr y.’ ForGainsborough, Reynolds’s opposite in every sense, intimatecorrespondence took the place of formal lecture; from theletters he wrote to his friends we gain an appreciation of theman as well as insights into his painting. And the same holdstrue of Constable. By contrast again, Turner’s appreciation ofpoetry encouraged him to pen his own ‘Fallacies of Hope.’The final lecture is devoted to visionaries and dreamers, toar tists for whom, like Blake, the literary and the visual areinseparable in the unity of their art.

Lecture Programme

1. ‘Subjects I consider’d as writers do.’ William Hogarth

2. ‘He can never be a great artist who is grossly illiterate.’Joshua Reynolds

3. ‘From the window I am writing I see all those sweet fields…’ John Constable

4. ‘Painting and Poetry reflect and heighten eachother’s beauties.’ J M W Turner

5. ‘I dare not pretend to be anything other than theSecretary; the Authors are in Eternity.’ William Blake

TIckets are £5 or (£3 concessions)£20 or £15 for the whole series.Tickets may be booked either: Online: www.nationalgallery.org.uk/whatBy post: cheques made payable to The National Galleryand sent to Advance Tickets Sales, The National Gallery,Trafalgar Square, London WC2N 5DN

In person: from the Advance Tickets and Audio Guidedesks, Level O, Getty Entrance

On the day: any remaining tickets will be on sale half anhour before the start of each event. Payment by cash orcheque only.

For information only, please telephone 020 7747 2888

William Hogarth, “The Painter and his Pug”, 1745 ©Tate, London 2008

newsletterThe Paul Mellon Centre for Studies in British Art - Yale University June 2008 Issue 26

Pen and Pencil:Writing and Painting in England, 1750-1850

The Paul Mellon Lectures 2008 by Duncan Robinson,Master, Magdalene College, Cambridge

Mondays 27 October – 24 November 2008, 6.30-7.30pmSainsbury Wing Theatre, The National Gallery, London

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

2

Paul Mellon Centre conference

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: Ella Fleming. Yale-in-London Coordinator: Viv Redhead. Grants Administrator: Mary Peskett Smith. Editor, Special Projects:

Guilland Sutherland. Special Projects: Elizabeth Einberg, John Ingamells. Advisory Council: Caroline Arscott, David Bindman, Paul Binski, Julius Bryant, Andrew Causey, Philippa Glanville,

Mark Hallett, Maurice Howard, Sandy Nairne, Marcia Pointon, Elizabeth Prettejohn, Duncan Robinson, Michael Rosenthal. Company Registered in England 983028 Registered Charity 313838

Pleasure Gardens have beendiscussed by historians such asJohn Brewer and Roy Por teras typifying a nascent publicsphere, one identified with the‘commodification’ of culture andthe rise of the ‘middling rank’.Much of our knowledge of thesegardens i s s t i l l founded onWarwick Wroth’s works, nowmore than a century old. For allthe importance of the individualcomposers, painters and artistsactive within them, pleasuregardens have been neglectedby historians of ear ly moderntheatre, music, ar t and dance.Those historians and literar yscholars who have addressedthem have focused a lmos te x c l u s i v e l y o n t h e 1 7 6 0 sa n d 1 7 7 0 s , i g n o r i n g t h e i rCaroline origins and Victorian

development. Pleasure Gardensoutside London and in otherEuropean countries have alsoreceived insufficient attention.It is hoped that this conferencewill go some way towards bridgingthe disciplinary, methodologicaland geographical divides whichhave hither to isolated scholarsinterested in different aspectsof the pleasure garden.

The conference is supported byThe Pau l Mel lon Centre forStudies in British Art, Tate Britainand The Museum of GardenHistory. Additional suppor t isprovided by the Royal MusicalAssoc iat ion , The Mus ic andLetters Trust and SouthamptonUniversity’s Music Department,History Department and Schoolof Humanities. The convener is

Dr Jonathan Conlin, University ofSouthampton. Speakers includePeter Borsay, John Brewer, RachelCowgi l l , John Dixon Hunt ,Deborah Epstein Nord, AileenRibe i ro, Wi l l i am Weber andSimon McVeigh.

For further information includingprogramme details, please visitour website at: http://www.p a u l - m e l l o n - c e n t r e . a c . u k /eventsf/vauxhall.html

The conference fees are £80 (full),£60 (students/concessions)To register for this conferenceplease contact Tate TicketingServices at: https://tickets.tate.org.uk/selectshow.aspTelephone: 020 7887 8888Email: ticketing@tate.org.uk

J. S. Muller after Samuel Wale, “View of Vauxhall Gardens”, 1751 (c) Guildhall Library, City of London

Vauxhall Revisited: pleasure gardens and their publics 1660-1880An interdisciplinary conference, accompanied by a concert at Tate Britain, 14-16 July 2008

Living with the Royal Academy:Artistic Ideals and Experiencesin Britain, 1768-1848The Centre for Eighteenth Century Studiesand the Department of History of Art,University of York, The King’s Manor, York.November 28-29 2008I n 2001 , Dav id So lk in ’s ed i ted vo lume andexhibition Art on the Line: the Royal AcademyExhibitions at Somerset House, 1780-1836 offerednew and influential approaches to the Academy’sannua l exh ib i t ions as events w i th dynamicimplications for ar tists and their audiences. Thisconference sets out to extend the lines of enquiryopened up in Art on the Line through a heightenedattention to the textures of ar tists’ relationshipswith the Royal Academy in late-eighteenth andear ly-nineteenth-century Britain. In par ticular, itaims to explore the Academy as a lived organism,one whose most effective role was as a referencepoint towards, around and against which ar tistsorganized their relationships with each other andwith ar tistic practice itself.

This two-day event, suppor ted by the Paul MellonCentre for Studies in British Ar t, will feature aninternational range of speakers, including JohnBarrell, John Bonehill, Ann Bermingham, MatthewCraske, Rosie Dias, Jason Edwards, Mark Hallett,Iain McCalman, Sarah Monks, Mar tin Myrone ,Martin Postle and Aris Sarafinos. The conference isbeing organised by John Barrell, Mark Hallett andSarah Monks of the University of York.

Tickets, which include lunches, coffees and teas,cost £60 (£30 concessions). Cheques payable to ‘University of York (Living withthe Academy)’ and sent to: Clare Bond, ConferenceAdministrator (Living with the Academy), Centre forEighteenth Century Studies, University of York, TheKing’s Manor, Exhibition Square, York YO1 7EP.E-mail enquiries may be addressed to Clare Bondcmb14@york.ac.uk

Architecture, diplomacy andnational identity: Sir BasilSpence and mid-centurymodernismA Conference at the British School at Rome,3-5 December 2008The recent exhibition, Back to the Future: Sir BasilSpence 1907-76, organized by the National Galleriesof Scotland (19th October 2007 – 10th February2008) to mark the centenar y of Spence’s bir th,tr iggered new interest in the work of this oncemost celebrated of Br itish twentieth-centur ya rch i tec t s . Th i s con fe rence i s des i gned toexamine the architecture of Sir Basil Spence inthe context of the f lamboyant and exuberantmodes of design developed in the mid-twentiethcentury for national representational buildings, fromembassy and parliament buildings to internationalexhibition pavilions.

The conference, suppor ted by the Paul MellonCentre for Studies in British Art, will consider the usemade of classical prototypes and forms by mid-century modernist architects, and compare Spence’swork with that of Lutyens, Le Corbusier, Saarinen andKahn. We will also look at the reception of Spence’sEmbassy building by architects and critics in Italy,where it was termed ‘una lezione di civiltà’ (a lessonin courtesy) by one writer, and consider it in the lightof post-war Italian architecture and attitudes tobuilding in the Eternal City.

Speakers will include: Gavin Stamp (London) onLutyens and Spence, Robin Skinner (University ofVictoria, Wellington, New Zealand) on the design ofthe New Zealand Parliament building, Jane Loeffler(University of Maryland) on the architecture ofdiplomacy, Eeva-Liisa Pelkonen (Yale University) onSaarinen’s US Embassy in London, Miles Glendinning(Edinburgh College of Ar t) on Spence’s BritishEmbassy in Rome and Maristella Casciato (Universityof Bologna) on post-war Italian architecture.

For fur ther details, contact Dr Susan Russell,Assistant Director, The British School at Rome, viaAntonio Gramsci 61, 00197 Rome, Italy.Telephone: 00+39+06 3264939 or 0632649372Email: s.russell@bsrome.it or Geraldine Wellington at g.wellington@bsrome.it

Paul Mellon Centre conference

3

Daniel Stringer,“Portrait of the Artist”1776, ©Tate, London

Design for the British Embassy, Rome showing its proximity to the Porta Pia. DP010913 Royal Commission on the Ancient and Historical Monuments of Scotland

4

Senior FellowshipsProf Mark Crinson to prepare his book Stirling andGowan – Post-Industrial ArchitectureProf William Vaughan to prepare his book‘Mysterious Wisdom’ – The Art and Career of Samuel Palmer

Rome FellowshipsDr William Eisler for research in Rome for his essay‘The medals of Martin Folkes: art, Newtonian science andMasonic sociability in the age of the Grand Tour’ and hisbook The Medal in the World of the Enlightenment

Postdoctoral FellowshipsAltino Rocha to prepare his book War, Science andArchitecture. From Crystallography to Architecture ComputingRebecca Scragg to prepare three articles from herthesis Consuming Contemporary Art: London 1914 -23Hester Westley to prepare her book Traditions andTransitions: St Martin’s Sculpture Department, 1960 -1969Mimi Yiu to prepare her book Building Platforms: Stagingthe Architecture of Early Modern Subjectivity

Junior FellowshipsLaurel Flinn, The Johns Hopkins University, toconduct research in the United Kingdom for herdoctoral thesis Elegant Buildings and Pestilential Alleys:Regulation and Resistance in the Transformation ofLondon’s West End, 1750 -1830Caroline Fuchs, Humbolt University, Berlin, toconduct research in the United Kingdom for herdoctoral thesis Colour Value – The Autochrome in GreatBritainMatthew Woodworth Duke University, toconduct research in the United Kingdom for hisdoctoral thesis The Thirteenth-Century Choir andTransepts of Beverley Minster

Educational Programme GrantsCheltenham Art Gallery & Museum granttowards a series of talks linked to the exhibitionSurrealism Returns (September-November 2008)Roehampton University grant towards aconference The ‘Pictorial Turn’ in History (April 2008)Serpentine Trust grant towards a conference atBirkbeck College, University of London, Against theGrain: Learning from Derek Jarman’s Cinema (April2008)University of Westminster grant towards astudy day Capital Views: Aerial Vision and the ChangingImage of London (November 2008)Whitworth Art Gallery, University ofManchester grant towards a Walter Crane studyday Envisioning Utopia: The Urban and the Pastoral inBritish Art and Socialist Politics, 1870-1900 (December2008)

Research Support GrantsAlison Brisby for research in the UnitedKingdom on ‘The painted works of GeorgeHoward, 9th Earl of Carlisle’Samantha Burton for research in the UnitedKingdom on ‘Home and away: tourism and identityin the work of Elizabeth Armstrong Forbes, HarrietFord, Mary Alexandra Bell Eastlake and HelenMcNicholl’Georgina Cole for research in the UnitedKingdom on ‘Paintings of Joseph Highmore andThomas Gainsborough’Andrea De Meo for research in the UnitedKingdom on ‘Features and functions of courtcatholic chapels between 16th and 17th century’Susanna Falabella for research in the UnitedKingdom on ‘Thomas Martyn (1735-1825) theanalysis of the unpublished correspondence for thedefinition of the historic-artistic interests of atraveller through Italy’Elizabeth Lebas for research in the UnitedKingdom on ‘Forgotten Futures: British MunicipalCinema, 1920-78’Helen McCormack for research in the UnitedKingdom on ‘Dr William Hunter and the BritishSchool of Art’Paola Modesti for research in the UnitedKingdom on ‘Architectural Exempla between Veniceand England in the Eighteenth Century: Travels,Drawings, and Books’Edward Nygren for research in the UnitedKingdom on ‘The letters of James Ward, RA (1769-1859)’Patricia Reed for research in South Africa for a‘Catalogue raisonné of the oil paintings of WilliamNicholson (1872-1949)’Abbie Sprague for research in the UnitedKingdom on ‘The Birmingham School of Art: Artsand Crafts Painting in Birmingham’Glenn Sujo for research in the United Kingdomand Europe on ‘Jankel Adler in Britain’Francois Tainturier for research inMyanmar/Burma on ‘The Art of Making Cities:Rangoon and Mandalay in-mid-19th-century Burma’Carolyn Yerkes for research in the UnitedKingdom on ‘Sir Thomas Browne and seventeenth-century diagrams’

support for scholarship in British Art awards

Grant Awards At the March 2008 meeting of the Centre’s Advisory Council,the following fellowships and grants were awarded:

The next application deadline for Curatorial Research,Publication (Author), Publication (Publisher), EducationalProgramme and Research Support grants is 15 September 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

UNSEEMLY PICTURESGraphic Satire andPolitics in EarlyModern EnglandHelen PierceThis engaging book is thefirst full study of the satiricalprint in seventeenth-century England from therule of James I to theRegicide. It considersgraphic satire both as aparticular pictorial categorywithin the wider medium ofprint and as a vehicle forpolitical agitation, criticismand debate. Helen Piercedemonstrates that graphicsatire formed an integralpart of a wider culture ofpolitical propaganda andcritique during this period,and she presents many wittyand satirical prints in thecontext of such relatedmedia as manuscript verses,ballads, pamphlets and plays.She also challenges thecommonly held notion thata visual iconography ofpolitics and satire in Englandoriginated during the 1640s,tracing the roots of thisiconography back intonative and Europeangraphic cultures andtraditions.

Helen Pierce is apostdoctoral researchfellow based at the Centrefor Renaissance and EarlyModern Studies at theUniversity of YorkSeptember 2008224 pp. 256 x 192mm.100 b/w illus.ISBN 978-0-300-14254-9£35.00

THE COSMOPOLITANINTERIOR Liberalism and theVictorian Home,1870–1914Judith A. NeiswanderLiterature on domesticinterior decoration firstemerged as a popular genrein Britain during the 1870sand 1880s, as middle-classreaders sought decoratingadvice from books,household manuals,women’s magazines andprofessional journals.

This intriguing bookexamines that literature andshows how it wasinfluenced by thewidespread liberalismof the middle class. JudithNeiswander explains thatduring these years liberalvalues—individuality,cosmopolitanism, scientificrationalism, the progressiverole of the elite and theemancipation of women—informed advice about the

desirable appearance of thehome. In the periodpreceding the First WorldWar, these values changeddramatically: advice ondecoration became morenationalistic in tone and anew goal was set for theinterior—‘to raise the

British child by the Britishhearth’. Neiswander tracesthis evolving discoursewithin the context ofcurrent writing on interiordecoration, writing that ismuch more detached fromsocial and political issues ofthe day.

Judith A. Neiswander is anindependent art historian.October 2008 256 pp.254 x 178mm. 70 b/w illus.ISBN 978-0-300-12490-3£35.00

WILLIAM MORRISAND EDWARDBURNE-JONES InterlacingsCaroline ArscottThe friendship betweenWilliam Morris and EdwardBurne-Jones began whenthey met as undergraduatesin 1853 and lasted untilMorris’s death in 1896,despite their differences intemperament and inattitudes to politicalengagement. This friendship

Paul Mellon Centre publications

5

6

was one of the definingfeatures of both their lives,and yet the overlap in theirartistic projects has notpreviously been consideredin detail. In this deeplythoughtful book, CarolineArscott explores particularaspects of the paintings ofBurne-Jones and the designsof Morris and concludesthat there are closeinterconnections in theme,allusion and formal strategybetween the works of thetwo men. She suggests thatthemes of bodily pain,desire and appetite arecentral to their vision.Through careful readings ofBurne-Jones’s painting andMorris’s designs for printedwallpapers and textiles, sheshows that it is possible tobring together fine art anddesign in a linked discussionthat illuminates the projectsof both artists

Caroline Arscott is seniorlecturer, Courtauld Instituteof Art, University ofLondon. October 2008 224 pp.279 x241mm.40 b/w + 60 colour illus. ISBN 978-0-300-14093-4£40.00

DESIGN AND PLAN INTHE COUNTRY HOUSE From Castle Donjons toPalladian BoxesAndor Harvey Gommeand Alison MaguireThe way a man thinksabout his day-to-day livingand the needs of hishousehold reveals a greatdeal about his ambitions, hisidea of himself, and his rolein the community. And hishouse or castle offers manyclues to his habits as well as

those of the members ofhis household.

This intriguing bookexplores the evolution ofcountry house plansthroughout Britain andIreland, from medieval timesto the eighteenth century.With photographs anddetailed architectural plansof each of the 180 houses

under discussion, the bookpresents a whole range ofnew insights into how thesehomes were designed andwhat their varied plans tellus about the lives of theirresidents. Starting withfortified medieval towerhouses, the book tracespatterns that developed andsometimes repeated incountry house design overthe centuries. It discusseswho slept in thebedchambers, where foodwas prepared, how roomswere arranged for officialand private activities, whattowers signified, and more.Groundbreaking in itsdepth, the volume offers arare tour of country housesfor scholar and generalreader alike.July 2008Hardback 356pp. 200 b/w + 80 colour illus.ISBN: 978-0-300-12645-7£50.00

SLAVERY, SUGAR, ANDTHE CULTURE OFREFINEMENTPicturing the BritishWest Indies, 1700-1840By Kay Dian KrizThis 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 brutalprocess 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 ofthe 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.July 2008 288 pp.256 x 192mm.80 b/w + 40 colour illus. ISBN: 978-0-300-14062-0 £35.00

Paul Mellon Centre publications

7

Paul Mellon Centre publications

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

At the height of theNapoleonic Wars, 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 lowand 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 this

provocative 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 of Wilkie 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 genre

painting locates itself at thestart of a trajectory linkingthe art of the Age ofRevolution with thepostmodern culture of thepresent day.

David Solkin is Professor ofthe Social History of Art,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.July 2008Hardcover384 pp. 295x248mm. 100b/w + 150 colour illus. ISBN 978-0-300-14061-3£45.00

RICHARD PARKESBONINGTON: The CompletePaintings Patrick NoonOnly 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 spirit

of 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 andLondon 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.

September 2008Hardcover360pp. illusISBN-13: 978-0300134216£85.00

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 centerJoseph Wright of Derby in Liverpool22 May–31 August 2008Co-organized by the Yale Center for British Art and the Walker Art Gallery, National Museums Liverpool

Great British Watercolors from the Paul Mellon Collection10 June–17 August 2008Organized by the Yale Center for British Art in association with the Virginia Museum of Fine Arts, Richmond

Benjamin West and the Venetian Secret18 September 2008–4 January 2009Organized by the Yale Center for British Art and the Yale University Art Gallery. A related symposium will take place on 19–20 September 2008. For information, please contact ycba.research@yale.edu.

Sun, Wind, and Rain: The Art of David Cox16 October 2008–4 January 2009Co-organized by the Yale Center for British Art and Birmingham Museums & Art Gallery

publ icat ionsThe Yale Center for British Art is pleased to announce the following new publications:

Sun, Wind, and Rain: The Art of David CoxScott WilcoxThis fully illustrated catalogue will accompany the exhibition on view at the Center. The book has been written and edited by Scott Wilcox, with essays by Victoria Osborne, Peter Bower, Charles Nugent, Greg Smith, and Stephen Wildman. Published by the Yale Center for British Art, Birmingham Museums & Art Gallery, and Yale University Press (September 2008).

The History of British ArtDavid BindmanThis lavishly illustrated three-volume work provides a critical overview of British art from early Saxon times to the present. Written by a team of international scholars, each title includes essays, chronologies, and more. Published in North America by the Yale Center for British Art in associa-tion with Tate Britain (October 2008).

David Cox, Sun, Wind, and Rain (detail), 1845, watercolor over graphite on wove paper, Birmingham Museums & Art Gallery

curatorial exchange with the v&aIn May–June, the Yale Center for British Art welcomed Katherine Coombs, Curatorial Assistant in the Prints, Drawings & Paintings Collection at the Victoria and Albert Museum, London (V&A), as part of a special yearly curatorial exchange with the V&A. While at the Center, Ms. Coombs studied the collections of portrait miniatures, drawings, and pastels in preparation for a proposed volume on the portrait miniature in eigh-teenth-century Britain.

v is it ing scholars JuneMeghan Doherty, PhD candidate, University of Wisconsin, Madison

JulyMichèle Cohen, Professor in Humanities, Richmond American International University, London

Jongwoo Jeremy Kim, Guest Fellow and PhD candidate, Institute of Fine Arts, New York University

July-AugustJohn Styles, Research Professor in History, University of Hertfordshire

Amanda Vickery, Reader in the History of Women and Gender, Royal Holloway, University of London

AugustRichard Stephens, Independent Scholar

SeptemberAmy Tims, Ph.D. candidate at Rutgers University

Ruby Palchoudhuri, Executive Director of the Crafts Council of West Bengal

Colin Cruise, Research Lecturer, The School of Art, University of Aberystwyth, Wales

Wayne Modest, Director, Museums of History and Ethnography, The Institute of Jamaica

OctoberJames Walvin, Professor of History, York University, UK

Marcia Pointon, Senior Visiting Scholar at the Yale Center for British Art, Professor Emeritus of History of Art at the University of Manchester UK and Honorary Research Fellow at the Courtauld Institute of Art, London

November Alice Barnaby, Ph.D. candidate, Exeter University

November–DecemberAlison Inglis, Senior Lecturer and Program Head, Art History, University of Melbourne