The Paul Mellon Centre Staff Director of Studies: Brian Allen Assistant Director for Academic Activities: Martin PostleAssistant Director for Administration: Kasha Jenkinson Librarian: Emma Floyd Archivist: Emma Lauze IT/Website/Picture Research:Maisoon Rehani Administrative Assistant: Ella Fleming Yale-in-London Coordinator: Viv Redhead Grants Administrator: Mary Peskett Smith Editor Special Projects: Guilland Sutherland Special Projects: Hugh Belsey, Elizabeth Einberg, John IngamellsAdvisory Council: Caroline Arscott, Paul Binski, Penelope Curtis, Philippa Glanville, Mark Hallett, Nigel Llewellyn, Andrew Moore,Sandy Nairne, Marcia Pointon, Elizabeth Prettejohn, Gavin Stamp, Christine StevensonCompany Registered in England 983028 Registered Charity 313838

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

This conference accompanies the exhibition ThomasLawrence: Regency, Power and Brilliance at the NationalPortrait Gallery, London (20 October 2010–23 January2011) which will be shown at the Yale Center for BritishArt, New Haven, 24 February–5 June 2011). This will bethe first exhibition in the United Kingdom since 1979 toexamine Lawrence’s work and the first substantial pres-entation of this artist in the United States. It will presentLawrence as the most important British portrait painterof his generation and will explore his development asone of the most celebrated and influential European

artists of the late eighteenth and early nineteenth cen-turies. By his untimely death in 1830 Lawrence hadachieved the greatest international reach and reputationof any British artist. Based on new research and freshperspectives, this exhibition will introduce Lawrence toa new generation of museum visitors and students. Itwill also contextualise his work in the light of recentscholarship on the art, politics and culture of the period.The exhibition will include the artist’s greatest paint-ings and drawings alongside lesser known works inorder to provide a fresh understanding of Lawrence andhis career. It will contrast his approach to sitters accord-ing to age and gender, juxtapose the power and impact ofhis public works with the intimacy and intensity of thoseportraits of his friends and family, trace his innovationsas a draughtsman and painter, and place him within thebroader contexts of the aesthetic debates, networks ofpatronage and international politics of his day.

Conference ProgrammeThursday 18 November 2010 National Portrait Gallery

(2.00 pm–8.30 pm)

Session One will address issues relating to Lawrence,gender and representation, and will include papers byMarcia Pointon (Professor Emerita, University ofManchester), Shearer West (Arts and HumanitiesResearch Council and the University of Birmingham)and Sarah Monks (School of World Art Studies andMuseology, University of East Anglia).

Evening: At 6 pm, delegates are invited to attend a guestlecture by Richard Holmes, the biographer and author ofThe Age of Wonder: How the Romantic GenerationDiscovered the Beauty and Terror of Science (2008) and for-merly Professor of Biographical Studies at theUniversity of East Anglia. The lecture will be followedby a wine reception hosted by the curators, and freeadmission to the exhibition. (cont.overleaf)

The Paul Mellon Centre for Studies in British Art

NEWSLETTERYale University June 2010 Issue 30

Thomas Lawrence: Regency, Power and Brilliance A Conference at the National Portrait Gallery and The Paul Mellon Centre 18-19 November 2010

Sir Thomas Lawrence, Charles William Vane-Stewart, 3rd Marquess ofLondonderry, 1812 (National Portrait Gallery, London)

17.00 Panel and audience discussion chaired byClaire Pace, followed by wine reception.

Full conference fee, including coffee, lunch, tea, privateview of the exhibition, and wine reception: £40. Studentand Senior concessions £20. To register for the confer-ence please check availability with Ella Fleming at ThePaul Mellon Centre:

Email: events@paul-mellon-centre.ac.ukTel: 020 7580 0311 Fax: 020 7636 6730

PROGRAMME

Registration 9.30 amMorning Session introduced and chaired by Claire Pace(Honorary Research Fellow, University of Glasgow);Wendy Wassyng Roworth (Professor of Art History, Uni-versity of Rhode Island), ‘The Legacy of Genius: Salvator Rosa, Joshua Reynolds and Painting in Britain’;Elinor Shaffer (Senior Research Fellow, Institute of Ger-manic & Romance Studies, University of London), ‘TheLives of Artists: William Beckford and Salvator Rosa’.

Visit to the exhibition, Salvator Rosa (1615-1673).Bandits, Wilderness and Magic, led by Helen Langdon andXavier F. Salomon, Arturo and Holly Melosi ChiefCurator at Dulwich Picture Gallery.

Afternoon Session I introduced and chaired by SusanJenkins (Senior Curator, English Heritage); Cinzia MariaSicca (Associate Professor of the History of EuropeanArt, University of Pisa), ‘“One of the most excellentMasters that Italy has produced in this century”: Thecirculation of Salvator Rosa’s works through the Englishcommunity in Leghorn’; Alexis Ashot, AssociateSpecialist, Old Master and British Pictures, Christie’s,‘“Unbounded capacity”: a 1778 vita of Salvator Rosa bythe London connoisseur, Charles Rogers’.

Afternoon Session II introduced and chaired by ChristophVogtherr (Curator of Pictures, pre-1800, The Wallace Col-lection); Jonathan Yarker (PhD candidate, University ofCambridge), ‘Joseph Goupy and the imitation of Rosa inearly eighteenth-century England’; Helen Langdon (curator of the exhibition), ‘Belisarius in Norfolk’.

Salvator Rosa in Britain A Conference at The Dulwich Picture Gallery, 18 October 2010

THE PAUL MELLON CENTRE CONFERENCES

Thomas Lawrence: Regency, Power and BrillianceFri. 19 Nov. 2010 Paul Mellon Centre (9.15 am–7.15 pm)

Session Two, devoted to Lawrence and his contempo-raries, will include papers by Viccy Coltman (Universityof Edinburgh) and Martin Myrone (Tate). Session Three will explore technical aspects ofLawrence’s career, particularly his studio practice andrelationship with engravers, and will include papers byJacob Simon (National Portrait Gallery) and Sally Doust(Independent Scholar).Session Four will address Lawrence’s reputation and his-toriography into the later nineteenth century, and willinclude papers by Philippa Simpson (Tate) and Pat Hardy(Walker Art Gallery, National Museums Liverpool).

The conference will conclude with a roundtable discussion, including Mark Hallett (University of York),Ludmilla Jordanova (King’s College, London), DavidSolkin (Courtauld Institute of Art), and the curators ofthe exhibition, which will consider themes arising fromthis exhibition and conference. The discussion will be followed by a wine reception at 5.45 pm.

Full conference fee for both days, including coffee,lunch and tea on 19 November, and receptions: £40. Student and Senior concessions £20. To register for theconference please check availability with Ella Fleming atThe Paul Mellon Centre:

Email: events@paul-mellon-centre.ac.uk Tel: 020 7580 0311 Fax: 020 7636 6730

This conference, organized by Dr Helen Langdon, accompanies the exhibition at Dulwich Picture Gallery, Salvator Rosa(1615-1673): Bandits, Wilderness and Magic (15 September–28 November 2010) which concentrates on the quality and vari-ety of Rosa’s works – savage landscapes, fanciful portraits of romantic figures, intriguing philosopher-paintings, witchesand dragons. The conference explores the impact of this many-sided art on British painting, literature and art theory.

Salvator Rosa, Jason Charming the Dragon, 1665–70 (detail). The Montreal Museumof Fine Arts, Purchase, Miss Olive Hosmer Fund. Photo: The Montreal Museum ofFine Arts, Christine Guest

On his famous lecture tour of 1882 Oscar Wilde told Amer-ican audiences about a ‘great English Renaissance of Art’,which had begun with the Pre-Raphaelite Brotherhoodand was flourishing in the work of their successors. ‘I call itour English Renaissance’, he explained, ‘because it isindeed a new birth of the spirit of man, like the great Ital-ian Renaissance of the fifteenth century’.Victorian artists have often been castigated for theirdependence on prototypes and precedents from the OldMasters. This lecture series takes its cue instead fromWilde, who saw no inconsistency between the idea of a‘new birth’ and the inspiration of the past. With the forma-tion of the National Gallery in 1824, and the subsequentproliferation of exhibitions, reproductions, and scholar-ship on the Old Masters, the art of the past became visibleand accessible as never before. Yet the history of art did notcome ready-made to the Victorians. Such artists as vanEyck, Bellini, Botticelli, Piero della Francesca, andVelázquez came to the National Gallery with the force ofnovelty. They were interpreted by the great Victorian critics, curators, and scholars and perhaps more impor-tantly, as these lectures will argue, by such artists asRossetti, Burne-Jones, Whistler, Millais, and Leighton.The lectures will explore how the art of the past and the artof the present came to illuminate one another in the Victorian period.

Lecture Programme17 January: The Victorians and the Masters 24 January: Artist and Mirror: Pre-Raphaelites and Others31 January: ‘Buried fire’: Finding the Early Renaissance7 February: A Taste of Spain14 February: Postscript: On Beauty and Aesthetic Painting

Tickets are £5, or £3 concessions.Tickets will be available from 1 July 2010:online at www.nationalgallery.org.uk/whats-on; by post with 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 2, Getty Entrance to the National Gallery; 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.

THE PAUL MELLON LECTURES 2011

‘The National Gallery and the English Renaissance of Art’by Elizabeth PrettejohnProfessor of History of Art at the University of Bristol

THE PAUL MELLON CENTRE LECTURES

Sir William Orpen, The Mirror, 1900. Tate, London 2010

Mondays 17 January–14 February 2011, 6.30–7.30 pmSainsbury Wing Theatre, The National Gallery, London

THE PAUL MELLON CENTRE PUBLICATIONS

Walter CraneThe Arts and Crafts, Painting and Politics,1875–1890

Morna O’Neill

Walter Crane (1845–1915) was one of the mostimportant, versatile and radical artists of thenineteenth century: a painter, decorator,designer, book illustrator, poet, author, teacher,art theorist and socialist. Crane’s astonishinglydiverse body of work challenged the establish-ment, artistically and politically. In thisoriginal and carefully researched new study,Morna O’Neill presents a fascinating portraitof an artist who used his talent and energy todismantle the traditional boundaries betweenfine art and decorative art, between elite andpopular, between art and propaganda. Crane’senduring influence is felt on many levels, andsignificant new research in this book uncoversthe magnificent breadth of his artistic practice.The finest book illustrator of the Victorian era,he revolutionised that field. A friend and asso-ciate of William Morris, his work embodiedArts and Crafts ideals. A lifelong political radical, he invented the iconography of Englishsocialism. By reconsidering his politics andreintegrating it with his art, Crane emerges inthis book as a unique figure, an artist whotranslated ‘art for art’s sake’ into ‘art for all’.

Morna O’Neill is Mellon Assistant Professor ofNineteenth-Century European Art, VanderbiltUniversity, Nashville, Tennessee.

September 320 pp. 256x192mm. 100 b/w + 20 colour illus. ISBN 978-0-300-16768-9 £35.00

The Edwardian Sense: Art, Design, and Performance in Britain, 1901–1910

edited by Morna O’Neill & Michael Hatt

Although numerous studies have explored theEdwardian period, 1901-1910, as one of political and social change, this innovative bookis the first to explore how art, design, and performance not only registered those changesbut helped to precipitate them. While acknowl-edging familiar divisions between thehighbrow world of aesthetic theory and thepopular delights of the music hall, or betweenthe neo-Baroque magnificence of centralLondon and the slums of the East End, TheEdwardian Sense also discusses the middlebrowculture that characterizes the anonymous edgeof the city. Essays are divided into three sec-tions under the broad headings of spectacle,setting, and place, which reflect the book’sfocus on the visual, spatial, and geographic perspectives of the Edwardians themselves.Essays by Tim Barringer, Gillian Beer,Christopher Breward, Martina Droth,Bronwen Edwards, David Gilbert, TomGunning, Imogen Hart, Michael Hatt, AnneHelmreich, Lynda Nead, Morna O’Neill,Barbara Penner and Charles Rice, ChristopherReed, Deborah Sugg Ryan, AndrewStephenson, and Angus Trumble.

Studies in British Art vol. 20 (published withthe Yale Center for British Art).

June. 336 pp. 90 b/w + colour illus. ISBN 978-0-300-16335-3 £45.00

Above the BattlefieldBritish Modernism and the Peace Movement,1900–1918

Grace Brockington

This book explores the role of artists and writers in the formation of a modern, secularpeace movement in Britain, and the impact ofideas about ‘positive peace’ on their artistic prac-tice. Previous studies have focused on theviolence implicit in modernism, and on the dis-integration of the avant-garde in Britain at theoutbreak of war, but Grace Brockington arguesthat ‘pacifist modernism’ flourished before 1914,and that it survived during the war through anetwork of dissident cultural communities.

Two such groupings—Bloomsbury, and apreviously unrecognised circle of artists, writ-ers and performers based around the MargaretMorris Theatre in Chelsea—are the focus ofthis study. Brockington reveals the expectationof an international cultural Renaissance thatmotivated the Edwardian avant-garde, and thatmilitated against conflict in 1914. She refutesthe assumption that the Bloomsburies failedduring the war, whether in their duty to theircountry or as a force for change. Rather, sheargues that they demonstrated an active, prin-cipled and audaciously public commitment topacifism. Her analysis of the Chelsea circledraws on a wealth of new material about exper-imental performance during the war,overturning the convention that avant-gardetheatre was moribund after 1914.

Grace Brockington is Lecturer in History ofArt, University of Bristol.

October 244 pp. 256x192mm. 100 b/w + 40colour illus. ISBN 978-0-300-15195-4 £35.00

THE PAUL MELLON CENTRE PUBLICATIONS

Decorating the ‘Godly’ HouseholdReligious Art in Post-Reformation Britain

Tara Hamling

The Reformation is generally regarded as acalamitous episode in the history of British art,with the rich artistic heritage of the medievalperiod eradicated and replaced by an austereProtestant culture of the word. This compellingnew study presents a wealth of visual evidenceto argue that religious subject matter was com-mon in the arts of Protestant Britain. TaraHamling examines decorative features from his-toric houses throughout England and Scotlandand identifies a significant but overlooked trendin the history of British art. She reveals a wide-spread fashion for large-scale religious imageryin houses owned by the gentry and prosperousmiddle classes during the period 1560–1660.The book is illustrated with narrative imageryin wall painting, plasterwork, carved wood andstone and objects including furniture, textilesand ceramics. The character of this ‘decorative’art is explored in relation to the functions ofrooms in the domestic interior with a focus onhow religious imagery might inform and sup-port spiritual activities taking place within thehome. The visual evidence throughout the bookis supported by extracts from contemporarytexts. Far from being hostile towards images,many Protestant patrons continued to commis-sion traditional religious art to decorate theirhouses, the imagery used to support Protestanthabits of thought and behaviour.

Tara Hamling is a RCUK / Roberts ResearchFellow in the Department of History,University of Birmingham, and a Fellow of theShakespeare Institute.

October 256 pp. 256x192mm. 80 b/w + 40 colour illus. ISBN 978-0-300-16282-0 £45.00

John Singer SargentFigures and Landscapes, 1883–1899The Complete Paintings Volume 5

Richard Ormond and Elaine Kilmurray

The fifth volume of the John Singer Sargentcatalogue raisonné encompasses a remarkablyproductive span in the beloved Americanpainter’s life. The young artist moved fromParis to London during this period and successfully ignited his career as a portraitist,and this time also marked his experimentationwith Impressionist techniques. These pagescontain the first detailed account of Sargent’srelationship with Claude Monet, including let-ters – most published for the first time here –from the artist to the great Impressionist. Thisexquisitely illustrated volume also covers theperiod when Sargent journeyed to Egypt,Greece, Turkey, Spain, North Africa and Italyin search of inspiration for a mural cycle com-missioned by the Boston Public Library. Theworks he painted as source material includedhere stand in stark contrast to the sensuous,painterly exercises of the early and mid-eighties, underlining his versatility and artisticreach. As in the previous volumes in this series,the images in this book are reproduced in fullcolour and documented in depth, with completeprovenance, exhibition history and bibliogra-phy, and are accompanied by relevant studiesand related drawings.

A great-nephew of John Singer Sargent,Richard Ormond is a Sargent scholar and anart historian. Elaine Kilmurray is researchdirector of the Sargent catalogue raisonné.

October. 392 pp. 310x248mm. 127 b/w + 311 colour illus.ISBN 978-0-300-16111-3 £50.00

The CharterhouseSurvey of London

Philip Temple

A fully illustrated, comprehensive record ofLondon’s medieval Charterhouse, from itsfoundation in the fourteenth century to thepresent day, presented by the Survey of Londonteam. Founded as a Carthusian priory in thefourteenth century, the Charterhouse is a mag-nificent complex of historic buildings in theCity of London. Since the Dissolution of theMonasteries, it has functioned as a privatemansion, a hospital, a school, and analmshouse, a role it still fulfills today. Locatedwithin the area covered by the Clerkenwell volumes of the Survey, it was too substantial ahistoric topic for inclusion in the regular vol-umes, and so is one of the occasional series ofmonographs that support the main series. Thebook includes original research, new photography and previously unpublishedinventories.

Philip Temple is a member of the Survey ofLondon staff within English Heritage inLondon.

October. 320 pp. 305x235mm. 100 b/w + 200 colour illus. & mapsISBN 978-0-300-16722-1 £80.00

Fellowship and Grant AwardsTHE PAUL MELLON CENTRE FELLOWSHIP AND GRANT AWARDS

Publications (cont.)

Ford Madox Brown A Catalogue Raisonné Mary Bennett

Ford Madox Brown (1821-1893) is known predominantly for his closeassociation, from 1848, with the Pre-Raphaelite Brotherhood and for hismasterpiece, The Last of England (1852-5), with its poignant imagery ofa young emigrant couple aboard ship taking their last sight of home –portraits of the artist himself and his wife. This fully illustrated catalogue provides the first complete coverage of all of Madox Brown’swork. Madox Brown’s early works were admired by the young DanteGabriel Rossetti, through whom he came into contact with the artists ofthe Pre-Raphaelite Brotherhood. This association was to confirm hisown interests and experiments in outdoor light effects and led to theglowing palette of his great paintings of the 1850s: Work, An EnglishAutumn Afternoon and The Last of England. His interests also embraceddecorative design and in the 1860s he was a founder member of the nowfamous decorating firm of Morris, Marshall, Faulkner & Co. All aspectsof his documented work, extant or now lost-sight-of, are presented inthis magnificent catalogue, which includes a section on Madox Brown’sframe designs (by Lynn Roberts). The artist’s diary and his largelyunpublished correspondence with associates and patrons provide a fascinating insight into his ideas and plan of work. A tour de force ofscholarship, this book will be of immense value to all scholars of nineteenth-century British art.

June. 2 volumes. 654 pp. 295x248mm. 522 b/w + 458 colour illus.ISBN 978-0-300-16591-3 £125.00

At the March 2010 meeting of the Centre’s Advisory Council the following Fellowships and Grants wereawarded:

SENIOR FELLOWSHIPS

Tarnya Cooper to prepare her book Portrait Painting andthe Urban Elites of Tudor and Jacobean England and Wales

Martin Hammer to prepare his book Francis Bacon:Images of Power

Mark Laird to prepare his book The Environment ofEnglish Gardening, 1650-1800

Sam Smiles to prepare his book Turner’s Last Paintings:The Artist in Old Age and the Idea of Late Style

David Solkin to prepare his book Art in Britain 1660-1837

ROME FELLOWSHIP

David Rundle for research in Rome for his book TheEnglish Hand in Rome: Barbarous Britons and theRenaissance Arts of the Humanist Book, 1400-1520

POSTDOCTORAL FELLOWSHIPS

Adriano Aymonino to prepare his book A Mirror of theEnlightenment: The Patronage, Collections and CulturalWorld of the 1st Duke and Duchess of Northumberland inGeorgian Britain

Madhuri Desai to prepare her book Resurrecting Banaras:Urban Space, Architecture and Colonial Mediation (1781-1936)

Kate Grandjouan to prepare her book Close Encounters:French Identities in English Graphic Satire c.1730-1799

Helen McCormack to prepare a series of articles onA Collector of the Fine Arts in Eighteenth-Century Britain: Dr William Hunter (1718-1783)

Mellie Naydenova-Slade to prepare her book Images ofthe Holy Kinship: The Iconography of the Extended Family ofChrist, c.1170 to c.1525

JUNIOR FELLOWSHIPS

Irene Sunwoo to conduct research in the UnitedKingdom for her doctoral thesis ‘Alvin Boyarsky’s “Well-Laid Table”: Experiments in Architectural Pedagogy’

EDUCATIONAL PROGRAMME GRANTS

Centre for Research in the Arts, Social Sciences andHumanities (CRASSH) grant towards a two day work-shop, 24-25 June 2010, William Henry Fox Talbot: BeyondPhotography

English Heritage grant towards a one day symposium,1 December 2010, Robert Adam Furniture: Designs forKenwood and Osterley

University of Kent grant towards a one day conference,5 November 2010, The Visual and the Verbal in the Eighteenth Century

University of Leicester grant towards a two day conference,7-8 April 2011, Balancing the ‘Account’: The Study of EnglishMedieval Sculpture a Century after Prior & Gardner

RESEARCH SUPPORT GRANTS

Alena Artamonova for research in the United Kingdomon ‘Sir Thomas Lawrence and the British portrait tradition’

Michelle Carriger for research in the United Kingdomon ‘Him, She, or It: Contested Performances of VictorianFemininity in Britain and Japan’

Gill Clarke for research in the United Kingdom on‘Randolph Schwabe: Artist and Teacher’

Zirwat Chowdhury to conduct research in the UnitedKingdom on ‘Anglo-Indian Encounters: British Art andArchitecture, 1780-1836’

Carly Collier for research in Italy and the UnitedKingdom on ‘The Re-evaluation of Medieval and EarlyRenaissance Italian Art in British Taste during the longEighteenth Century: Creators, Collectors, Critics and“Gothic Atrocities” ’

Renate Dohmen for research in the United Kingdom on‘Painting with Colour and Light: The Art of theAmateur Artist in British India: Madras, Bombay andthe “Hindoo Patriot” ’

Sibylle Erle for research in the United Kingdom on‘Seeing the Face Read: the Role of the Silhouette inJohann Caspar Lavater’s Physiognomy’

Polina Ermakova for research in the United Kingdom on‘Laurence Sterne’s A Sentimental Journey through Franceand Italy. Poetics of the Novel and the Visual Culture ofthe Enlightenment’

Meredith Gamer for research in the United Kingdom onher ‘Criminal and martyr: Art and religion in Britain’searly modern eighteenth century’

Yvonne Gaspar for research in the United Kingdom on‘Richard Bradley (1688?-1732): English Botany inTransition’

Ann Gunn for research in the United Kingdom on ‘ThePrints of Paul Sandby (1731-1809): A CatalogueRaisonné’

David Hansen for research in United Kingdom on ‘PoorPeople: John Dempsey and his “remarkable character”portraits’

Clare Haynes for research in the United Kingdom on‘Idol or Ornament? Art in the Church of England 1660-1830’

Alba Irollo for research in the United Kingdom on ‘ Thelure of the antique from Pompeii to Victorian London:the diffusion of small casts in bronze and the beginningsof the “New Sculpture” ’

Katherine Isard for research in the United Kingdom on‘Architectural Commonplaces; Books, Reading andBuilding Practice in the Early Modern Period’

Chloe Kroeter for research in the United Kingdom on‘Silent Protest: Art, Activism, and Deaf Periodicals inVictorian Britain’

Kristin Mahoney for research in the United Kingdom on‘The Politics of Post-Victorian Aestheticism: Caricaturesby Max Beerbohm and Beresford Egan’

Catriona Murray for research in the United Kingdom on‘The Cult of the Deceased Prince Under the StuartMonarchy’

Eleonora Pistis for research in the United Kingdom on‘Architectural Culture in Early Eighteenth-CenturyOxford’

Robert Proctor for research in the United Kingdom on‘Roman Catholic Church Architecture in Britain, 1955-1975’

Kate Robertson for research in the United Kingdom on‘The Expatriate Experience: Australian artists abroad1890-1914’

Banmali Tandan for research in the United Kingdom on‘British Architecture in Calcutta during the GeorgianAge’

Carl Thompson for research in the United Kingdom on‘Maria Graham’s Contribution to Art History, and herParticipation in the “Callcott circle” of the 1830s’

Tatyana Tyutvinova for research in the United Kingdomon ‘British Drawings of the 18th to the early 20th centuryfrom the Pushkin State Fine Arts Museum Collection’

Fellowship and Grant AwardsTHE PAUL MELLON CENTRE FELLOWSHIP AND GRANT AWARDS

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

Yale Center for British Art entrance court, photo by Richard Caspole

exhibitions

exhibition related programs

senior vis iting scholar

spring 2010 vis iting scholars

publications