Mark Hallett, currently Professor of History of Art at theUniversity of York, is to become the new Director ofStudies at the Paul Mellon Centre from October this year.

Educated at the University of Cambridge and at theCourtauld Institute of Art, and a previous recipient of anAndrew W. Mellon Fellowship at Yale University,Professor Hallett’s research has focused on British artbetween 1650 and 1850. His books in this area includeThe Spectacle of Difference: Graphic Satire in the Age ofHogarth, published by Yale University Press in 1999, andHogarth, published by Phaidon Press in 2000. He iscurrently completing a book entitled Joshua Reynolds:Portraiture in Action, which is to be published by YaleUniversity Press in 2013. Professor Hallett has alsoworked on a number of exhibition projects with TateBritain, including James Gillray: The Art of Caricature of2001, Joshua Reynolds: The Creation of Celebrity of 2005and the international loan exhibition Hogarth, which heco-curated with Christine Riding. The latter exhibitionopened at the Louvre in October 2006, travelled to Tate Britain in February 2007, and then moved to theCaixa Forum in Barcelona in May 2007. More recently,he co-curated the exhibition William Etty: Art andControversy at York Art Gallery, which opened in June2011, and attracted more than 115,000 visitors.

In 2009, Professor Hallett was awarded a major AHRCgrant to lead a three-year collaborative research projecthe developed with art historians at Tate Britain, whichdeals with the history of British art between theRestoration and the early 18th century. Court, Country,City: British Art 1660-1735 has generated a series ofconferences, two exhibition displays and the scholarlywebsite The art world in Britain 1660-1735. Since 2007, hehas been the Head of the History of Art Department atYork, where he has overseen a dynamic phase of growth

and fostered partnerships with Tate Britain, the NationalGallery and the V&A. For the last four years, he has servedon the Paul Mellon Centre’s Advisory Council.

Professor Hallett said: ‘Being invited to become thenext Director of Studies at the Paul Mellon Centre is agreat honour and I look forward to working togetherwith a wonderful team of colleagues – both in Londonand at Yale – in promoting the most exciting andambitious research into British art.’

The Paul Mellon Centre for Studies in British Art

NEWSLETTERYale University June 2012 Issue 34

Mark Hallett, Professor of History of Art at the University of York,is to become the new Director of Studies at the Paul Mellon Centrefrom October 2012

The Paul Mellon Centre Staff Director of Studies: Brian A llen Assistant Director for Academic Activities: Martin Postle Assistant Director for Administration: Kasha Jenkinson Librarian: Emma Floyd Archivist and Photographic Archivist: Emma LauzeArchivist and Records Manager: Charlotte Brunskill IT/Website/Picture Research: Maisoon Rehani Administrative Assistant: EllaFleming Yale-in-London Coordinator: Viv Redhead Grants Administrator: Mary Peskett Smith Editor Research Projects: GuillandSuther land Senior Research Fellows, Special Projects: Hugh Belsey, Elizabeth Einberg, A lex K idson, Er ic Shanes, PaulSpencer-Longhurst Advisory Council:Caro line A rscott, Paul Binski, Penelope C urtis, Philippa G lanville, Mark Hallett, Michael Hatt, NigelLlewellyn, A ndrew Moore, Sandy Nairne, Elizabeth Prettejohn, Gavin Stamp, C hristine Stevenson Company 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

Photograph: Hugh Hood

Dickens and the Visual Imagination is an internationalconference co-hosted by the University of Surrey and thePaul Mellon Centre for Studies in British Art. There willalso be a reception at Watts Gallery in Compton, Surrey, tocoincide with the gallery’s exhibition Dickens and the Artists.

This two-day conference will explore the interfacesbetween art history and textual scholarship through thework of Charles Dickens. Dickens is renowned for therichness of his visual imagination, and his publicationsencouraged readers to interpret his words with andthrough the accompanying illustrations. Not only wasDickens deeply engaged with ideas of the visual in hiswriting, but his work has also provoked responses fromartists across multiple disciplines within the Victorianperiod and beyond. The conference seeks to build on recentinterdisciplinary work that illuminates nineteenth-century understandings of visual culture. By focussing theconference through a writer whose work is embedded inthe visual imagination, Dickens will provide a test case forexamining and theorising the connection between textand image across two hundred years of cultural history.

9 JulyThe University of Surrey, Guildford

Andrew Sanders (University of Durham), ‘Some ofDickens’s Rooms’

Panel 1: Dickens on Stage: papers from Karen Laird(University of Manchester); Christopher Pittard (Universityof Portsmouth); Pete Orford (University of Birmingham).

Panel 2: The Sights of London: papers from Christine Corton(University of Cambridge); Ursula Kluwick (University ofBern); Estelle Murail (University of Paris VII);

Panel 3: Revisionings of Dickens: papers from AleksandraPiasecka (John Paul II Catholic University of Lublin);Esther Bendit Saltzman (University of Memphis);Pamela Gerrish Nunn (independent scholar).

Panel 4: Dickens’s Eye: papers from Janet Wilkinson(Watts Gallery); Nicole Bush (Northumbria University);Heather Tilley (Birkbeck, University of London).

Panel 5: Architecture and Interiors: papers from Emma Gray(University of Bristol); Clare Pettitt (King’s CollegeLondon); Dominic Janes (Birkbeck, University of London).

Panel 6: Caricatures and Clown: papers from Gary Watt(University of Warwick); Leigh-Michil George(University of California, Los Angeles); JonathanBuckmaster (Royal Holloway, University of London).

Sambudha Sen (University of Delhi), ‘City Sketches,Panoramas and the Dickensian Aesthetic’

THE PAUL MELLON CENTRE CONFERENCES

10 July The Paul Mellon Centre for Studies in British Art16 Bedford Square, London WC1B 3JA

Lynda Nead (Birkbeck, University of London), ‘’to let inthe sunlight’: Dickens, Lean and the Chiaroscuro of PostwarBritain’

Panel 7: Perception and Perspective: papers from AndrewMangham (University of Reading); Janice Carlisle (YaleUniversity); Aleza Tadri-Friedman (St. Johns University,New York).

Panel 8: Dickens and Painting: papers from Dehn Gilmore(California Institute of Technology); Pat Hardy (Museumof London); Vincent Alessi (La Trobe University)

Kate Flint (University of Southern California), ‘Dickensand Street Art’

A full conference programme, with details of papersand ticketing, is available on the University of Surreywebsite atwww.surrey.ac.uk/english/research/dickens2012.Contact: Dr Gregory Tate at g.tate@surrey.ac.uk.

DICKENS AND THE VISUAL IMAGINATION

9–10 July 2012

Stained Glass Window showing Dickens as a Young Man by John Wimbolt (1929) copyright Charles Dickens Museum, London

Saturday 13 October 2012

Houses in trust: The Country House in Public/CharitableOwnership Jeremy Musson, Architectural Historian, The Crisis ofthe Country House in Local Government Care Lisa White, Chairman of the National Trust Arts Panel,The National Trust and its Country Houses Anna Keay, Director, The Landmark Trust, Presentingthe Historic House: A Perspective from English Heritage

The Irish Country House Terence Dooley, Director of CSHIHE, National Universityof Ireland, Maynooth, The Picture in Ireland today Kevin Baird, Director, Irish Heritage Trust, The Work ofthe Irish Heritage Trust

Time to Rethink? The House Museum in the United States Sean Sawyer, Executive Director, The Royal OakFoundation, Falling Down: The Current State of theHistoric House in America John Tschirch, Director of Museum Affairs, NewportPreservation Society, Newport and Beyond Craig Hanson, Associate Professor, Calvin College,Michigan, The American House Museum in HistoricalPerspective

The Australian Country House: Past and Future Virginia Lee, Professor, University of Melbourne, TheCountry House in Australia: Setting the Scene Karen Burns, University of Melbourne and MarkTaylor, Professor, University of Newcastle, Australia,The Country House in Contemporary Australia

The cost of the conference is £55 per day, to includeall refreshments. The programme, a booking formand a Paypal link (if you wish to pay this way) can befound on the Conference page of the AttinghamTrust website. Every booking and payment must beaccompanied by a fully completed booking form.

For all further enquiries please contact Rebecca Parker atrebecca parker@attinghamtrust org or +44 20 7253 9057

To be held at The Royal Geographic Society, 1 Kensington Gore, London SW7

The Attingham Trust, supported by the Paul MellonCentre, celebrates its sixtieth anniversary with aconference considering the current state of historichouses in the United Kingdom, the Republic of Ireland,the United States, and Australia. Speakers from each ofthose countries discuss successful current developmentsas well as the varying problems that each country faces –including the rapid decline of the traditional housemuseum in the USA, the attempts to preserve houses inthe Republic of Ireland, and the developing role of thehistoric house in Australian conservation. The Britishcountry house is studied from the point of view of privateand public owners including impressive case studies anddepressing cuts in funding, and illuminated from anacademic, curatorial and dramatic perspective.

Friday 12 October 2012

Confessions of a Country House Snooper: Tim Knox interviewsJohn Harris, Tim Knox, Director, Sir John Soane sMuseum and John Harris, Architectural Historian

Changing Perceptions of the Country House inBritain Giles Waterfield, The Attingham Trust, Studying theCountry House: Views from the Academy Charles O Brien, Series Editor, Pevsner ArchitecturalGuides, The Country House in The Buildings of England1951–2011 Dr. Christopher Ridgway, Curator, Castle Howard, TheRole of the Curator and Librarian: Changing Attitudes toCountry House Collections

New Visions for Old Houses: The Private PerspectiveEdward Harley, President of the Historic HousesAssociation, IntroductionThe Duke of Buccleuch and Queensberry, KBE DL, TheBuccleuch Estates Miranda Rock, Burghley House in the Twenty-First Century The Lord Fellowes of West Stafford, DL, Perspectives onthe Historic House

THE PAUL MELLON CENTRE CONFERENCES

LOOKING AHEAD: THE FUTURE OF THE COUNTRY HOUSE

The Attingham Trust 60th Anniversary Conference 12–13 October 2012

SENIOR FELLOWSHIPS

Mark Antliff, Duke University, to prepare his book Sculptureagainst the State: Direct Carving, Gaudier-Brzeska, and theCultural Politics of Anarchism

Matthew Craske, Oxford Brookes University, to prepare hisbook Wright of Derby: The Art of Friendship

Julian Luxford, University of St Andrews, to prepare hisbook Medieval Drawings in England, Scotland and Wales:Medium and Message

Frank Salmon, University of Cambridge, to prepare his bookThe Italian Face of Architecture in Victorian Britain

ROME FELLOWSHIPS

Luciana Gallo for research in Rome on A New Chapter inthe History of the Elgin Drawings: The Missing ItalianCollection

Jonathan Yarker, University of Cambridge, for research inRome on Thomas Jenkins and the Business of the GrandTour in Eighteenth-Century Rome

POSTDOCTORAL FELLOWSHIPS

Jessica Berenbeim, Harvard University, to prepare herbook Art of Documentation: The Sherborne Missal and theRole of Documents in English Medieval Art

James Baker, University of Kent, to prepare his book IsaacCruikshank and the business of satirical printing, 1783-1811

Tim Buck, University of East Anglia, to prepare his bookReconfiguring the Exotic and the Modern: British Art'sEngagement with Empire in the 1920s

Rebecca Searle, University of Sussex, to prepare her bookArt, Propaganda and the Experience of Aerial Warfare inBritain during the Second World War

JUNIOR FELLOWSHIPS

Matthew Fisk, University of California, to conductresearch in the United Kingdom for his doctoral thesis A Paradox of Elitism: Vision, Risk, Diplomacy in theEuropean Career of Colonel John Trumbull (1756-1843)

Arnika Schmidt, Technische Universität Dresden, toconduct research in the United Kingdom for her doctoralthesis Giovanni Costa (1826-1903) and TransnationalExchange in 19th century European Landscape Painting

Rebecca Shields, Rutgers University, to conduct researchin the United Kingdom for her doctoral thesis The SpaceBetween: Politics and Urban Development inSeventeenth-Century London

EDUCATIONAL PROGRAMME GRANTS

Ashmolean Museum grant towards a lecture series andpublic study day, 31 May–18 July 2012: The English Prize:The Capture of the 'Westmorland', an Episode of the GrandTour

University of Birmingham grant towards a conference, 31November–1 December 2012: Wyndham Lewis: Networks,Dialogues, and Communities

University of Cambridge grant towards a seminar,September 2012: The Wrong Architecture? EvaluatingBrutalism

Dulwich Picture Gallery grant towards a study day, 12January 2013: Exploring Cotman's Normandy: England andFrance in the wake of Waterloo

King's College London grant towards a conference, 30November–1 December 2012:Writing Materials: Women ofLetters from Enlightenment to Modernity

University of St Andrews grant towards a conference,10–12 August 2012: Emblems of Nationhood, 1707-1901

University of York grant towards a conference, 12–13 May2012: Transition in the Medieval World

RESEARCH SUPPORT GRANTS

Katy Barrett for research in the United States on Whatwas the Problem with Longitude? Science, Satire and Societyin Augustan England

Hugh Belsey for research in Australia and New Zealandfor the Catalogue Raisonné of Portraits by ThomasGainsborough

Michael Bird for research in the United Kingdom on LynnChadwick: a British Sculptor on the International Scene

Max Browne for research in the United Kingdom on TheArt of Edna Clarke Hall (1879-1979)

Antonio Brucculeri for research in the United Kingdomon The Ecole des Beaux-Arts and the Training of BritishArchitects in London 1880-1940

Mungo Campbell for research in the United Kingdom on'A rational taste of resemblance'; Allan Ramsay and thePortraiture of Learning

Katelyn Crawford for research in the United Kingdomand Ireland on Itinerant Portraitists in the LateEighteenth-Century British Atlantic World

Miruna Cuzman for research in the United Kingdom andIreland on Trench Modernism: William Orpen's Career asWar Artist

Petrina Dacres for research in the United Kingdom onQueen Victoria in the Caribbean: Public Sculpture and the Artof Empire

Fellowship and Grant AwardsAt the March 2012 meeting of the Centre’s Advisory Council the following Fellowships and Grants were awarded:

THE PAUL MELLON CENTRE FELLOWSHIP AND GRANT AWARDS

Sophia Dentzer for research in the United Kingdom onDecorative Vaulting in English Gothic Architecture

Natasha Eaton for research in India on Laboratories forBelonging: Exception, Emergency and the Museum in South Asia

Donato Esposito for research in the United States on TheArt Collection of Sir Joshua Reynolds

Manolo Guerci for research in the United Kingdom onGreat Houses of the Strand: The Ruling Elite at Home inTudor and Jacobean London

Richard Hayes for research in the United Kingdom onMapping the Aesthetes: London in the Aesthetic Movement

Nicola Imrie for research in Germany and Austria onMackintosh Architecture: Context Making and Meaning

Jacek Jázwierski for research in the United Kingdom onWays of Perceiving Pictures during the Grand Tour

Ruth Kenny for research in the United Kingdom on TheCraze for Pastel: Pastel-Painting in England c.1680-1800

Conor Lucey for research in the United Kingdom onEnglish Agents of the Irish Adamesque

Mirco Modolo for research in the United Kingdom onCollecting and Redrawing the Past: Bartoli’s Drawings inEighteenth-Century British Collections

Alla Myzelev for research in the United Kingdom onCreating National Pride One Stitch at a Time: Knitting inPainting and Visual Culture between the Wars

Dorothy Nott for research in the United Kingdom onChanging Representations of British War Art from 1850 to 1920

Carla van de Puttelaar for research in the United Kingdomon David Scougal, a 17th-century Scottish Portrait Painter

Mrinalini Rajagopalan for research in the UnitedKingdom on Building Histories: Preservation Politics and thePublic in Colonial and Postcolonial Delhi

Cathryn Spence for research in the United Kingdom onTrading in the Exotic: Thomas Robins the Elder (1716-70)

James Taylor for research in Australia on The Relationshipbetween William Westall’s Sketches, Drawings and Water-colours created on the Voyage of HMS Investigator 1801-1803to his Admiralty Australian Oil Paintings

T. Barton Thurber for research in the United Kingdomand Ireland on Rome and the Grand Tour in theMid-Eighteenth Century

Julia Ward for research in the United Kingdom on JanSiberechts: A Flemish Painter of Innovative Estate Portraitureand Landscapes in late seventeenth-century England

David Wilmore for research in the United Kingdom onJames Winston and the Watercolours and Drawings of ‘TheTheatric Tourist’

The English Prize: The Capture of the Westmorland,an Episode of the Grand TourMaria Dolores Sanchez-Jauregu Alpanes, Scott Wilcox

Laden with works of art acquired by young Britishtravellers on the Grand Tour in Italy, the British merchantship Westmorland sailed from the Italian port of Livornobefore being captured by French naval vessels andescorted to Malaga in southern Spain. The artistictreasures on board were purchased by King Carlos III ofSpain, and the majority were deposited in the collections ofthe Real Academia de Bellas Artes de San Fernando. Therethey resided, unknown, until recent research, usingoriginal inventories that survive in the Academia’sarchives, identified the Westmorland’s rich cargo. ‘TheEnglish Prize’ reveals the gripping story of the ship’scapture and the disposition of its artistic contents, whichincluded Raphael Mengs’ ‘Perseus and Andromeda’,Pompeo Batoni’s portraits of ‘Frances Bassett’ and ‘LordLewisham’, and watercolours by John Robert Cozens. Thisvolume illuminates the cultural phenomenon of the GrandTour and the young travellers who acquired the trove ofbooks and art works on board the Westmorland but werenever able to enjoy their purchases.

Maria Dolores Sanchez-Jauregui Alpanes is the leadscholar in the Westmorland research project. Scott Wilcoxis chief curator of art collections at the Yale Center forBritish Art

May 2012, 400 pages, 305 x 241mm350 colour illustrationsISBN: 9780300176056£45.00

THE PAUL MELLON CENTRE PUBLICATIONS

THE PAUL MELLON CENTRE FELLOWSHIP AND GRANT AWARDS

CarscapesThe Motor Car, Architecture, andLandscape in EnglandKathryn A. Morrison, John Minnis

When the motor car first came toEngland in the 1890s, it was a luxuryitem with little practical purpose –drivers couldn’t travel very far or veryquickly without paved roads or trafficlaws. Thus began a transformation thathas affected the architecture,infrastructure, and even the naturalenvironment of the country. ‘Carscapes’relates the history of the car’s impact onthe physical environment of Englandfrom its early beginnings to the modernmotorway network, focusing especiallyon its architectural influence. Theauthors offer a detailed look at the litanyof structures designed specifically toaccommodate cars: garages, gas stations,car parks, factories, and showrooms.Presenting a comprehensive study ofthese buildings, along with highways,bridges, and signage, ‘Carscapes’ revealsthe many overlooked ways in whichautomobiles have shaped the modernEnglish landscape.

Kathryn A. Morrison is chairman ofthe Society of ArchitecturalHistorians of Great Britain. JohnMinnis is an architectural historianand co-author of the Pevsner CityGuide to Sheffield.

October, 400 pages, 286 x 241mm225 colour + 75 b/w illustrationsISBN: 9780300187045£40.00

The Anglo-Florentine Renaissance: Art for the Early TudorsCinzia Maria Sicca, Louis A. Waldman,Brian Allen, Joseph Connors

Under the rule of Henry VII (r.1485-1509) England became a powerfulnation. The Tudor court sought toexpress its worldliness and politicalweight through major artisticcommissions, employing Florentinesculptors and painters to create lavishnew interiors, suitable for entertainingforeign dignitaries, for its royal palaces.These were exemplified by Henry VIII’spalace of Nonsuch, so named because noother palace could match itsmagnificence. Italian sculpture, painting,and tapestries of the day reflected aninterest in portraiture and dynasticmonuments, epitomized in England bythe royal tomb projects created by BaccioBandinelli, Benedetto da Rovezzano, andPietro Torrigiani.Generously illustratedthroughout, this book traces the artisticlinks between Medicean Florence andTudor England through essays by aninternational team of scholars.

Cinzia Maria Sicca is professor anddirector of the art history doctoralprogramme in the Department of ArtHistory at the Universita di Pisa,Italy. Louis Waldman in an associateprofessor of art history at TheUniversity of Texas at Austin.

April 2012, 330 pages, 254 x 178mm120 illustrationsISBN: 9780300176087£50.00

Citizen Portrait: Portrait Paintingand the Urban Elite of Tudor andJacobean England and WalesTarnya Cooper

For much of early modern history, theopportunity to be immortalized in aportrait was explicitly tied to socialclass: only landed elites and royaltyhad the money and power tocommission such an endeavour. But inthe second half of the 16th century,access began to widen to the urbanmiddle class, including merchants,lawyers, physicians, clergy, writers,and musicians. As more accessibleportraiture proliferated in Englishcities and towns, the middle classgained social visibility - not just forthemselves as individuals, but oftenfor their entire class or industry. In‘Citizen Portrait’, Tarnya Cooperexamines the patronage andproduction of portraits in Tudor andJacobean England, focusing on themotivations of those who chose to bepainted and the impact of theresulting images. Highlighting theopposing, yet common, themes ofpiety and self-promotion, Cooper hasrevealed a fresh area of interest forscholars of early modern British art.

Tarnya Cooper is chief curator at theNational Portrait Gallery, London.

September, 240 pages,: 270 x 220mm40 colour + 80 b/w illustrationsISBN: 9780300162790£45.00

Light C ar & C yclecar , 27 April 1923, front

THE PAUL MELLON CENTRE FELLOWSHIP AND GRANT AWARDS

The Last Sane Man: MichaelCardew, Modern Pots, Colonialism,and CountercultureTanya Harrod

British studio potter Michael Cardew(1901-1983) was a man of paradox, amodernist who disliked modernity, acolonial servant who despised Empire,and an intellectual who worked with hishands. After graduating from Oxford in1923, he made majestic slipwarealongside legendary potter BernardLeach. Wartime service in Ghana madeCardew fiercely critical of Britishoverseas policies; he remained in WestAfrica intermittently until 1965,founding a local tradition of stoneware.Beginning in the late 1960s, he travelledthrough Australia and North America,teaching pottery and demonstratingagainst racism and its consequences. Bythe time of his death, he had establishedhimself as one of the finest 20th-centurypotters and as a voice of political dissentand counterculture. This is the firstbiography of his remarkable life. Thebook includes interviews with friends,students, and his two surviving sons,previously unpublished photographs ofCardew, and colour images of his work.

Tanya Harrod is a design historian,author of the prizewining The Crafts inBritain in the 20th Century and theco-editor of the Journal of ModernCraft.

October , 380 pages, 235 x 159mm30 colour + 90 b/w illustrationISBN: 9780300100167£30.00

Designing AntiquityOwen Jones, Ancient Egypt and theCrystal PalaceStephanie Moser

In the 19th century, designers becameinvolved in the public presentation ofthe past, focusing specifically on thedecoration of historical monuments. Byexploring ornamental designs and theway they represented the culturalconcerns of distant civilizations, and inaddressing how colour may haveoriginally been applied to exteriors andinteriors, designers animated the pastand incited a new passion for the ancientworld. Crucial in this movement was thedesigner and architect Owen Jones(1809-1874), who from the 1830s untilhis death pioneered the study of ancientornament and its central role inhistorical traditions of art. Particularlysignificant were the series of Fine ArtsCourts that Jones designed in 1854 forthe Crystal Palace’s relocation toSydenham. ‘Designing Antiquity’focuses on Jones’ Egyptian Court,which produced a fundamental shift inthe way Egyptian art was understood inthe second half of the 19th century.

Stephanie Moser is professor ofarchaeology at the University ofSouthampton.

September , 320 pages, 254 x 191mm80 colour + 50 b/w illustrationISBN: 9780300187076£40.00

Survey of London, Volume 48WoolwichAndrew Saint, Peter Guillery

Woolwich is a distinctive Londondistrict, a riverside settlement withpre-Roman origins which grew into amilitary-industrial centre of nationalimportance. Massive investment fuelleda series of military establishments, anaval dockyard and the Royal Arsenal,bringing prosperity to the town anddominating its economy. At the sametime, Woolwich developed a dynamiccivic identity, reflected in its impressivemunicipal buildings and ambitiouspublic- housing programme. Thishistoric richness is not well-known. Thenew ‘Survey of London’ volume bringstogether everything of significance inWoolwich’s built history, and will proveinvaluable to historians, planners,residents and the wider public.

Andrew Saint is the General Editor ofThe Survey of London and the authorof Richard Norman Shaw. Peter Guillery is a senior investigatorfor English Heritage and the authorof The Small House inEighteenth-Century London: A Socialand Architectural History.

October 2012, 460 pages, 286 x 223mm150 colour + 250 b/w illustrationsISBN: 9780300187229£75.00

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

John Robert Cozens, Lake Nemi (detail), 1777–78, watercolor over graphite on paper, Real Academia de Bellas Artes de San Fernando, Museo

exhibitions

“While these visions did appear”: Shakespeare on CanvasThrough 29 July 2012Organized by the Yale Center for British Art

Art in Focus Yale Student Guide ExhibitionGazes Returned: The Technical Examination of Early English Panel PaintingThrough 29 July 2012Organized by the Yale Center for British Art

The English Prize: The Capture of the Westmorland, An Episode of the Grand Tour4 October 2012–13 January 2013The exhibition has been co-organized by the Yale Center for British Art; the Ashmolean Museum of Art and Archaeology, University of Oxford; and the Paul Mellon Centre for Studies in British Art, London; in association with the Real Academia de Bellas Artes de San Fernando, Madrid.

Opening LectureWednesday, 3 October, 5:30 pmA conversation between Scott Wilcox, Chief Curator of Art Collections and Senior Curator of Prints & Drawings, Yale Center for British Art, María Dolores Sánchez-Jáuregui, Senior Research Fellow at the Paul Mellon Centre for Studies in British Art, and José María Luzón Nogué, Academician for the Museum of the Real Academia de Bellas Artes de San Fernando, Madrid, and Professor Emeritus in Archeology, Universidad Complutense, Madrid.

Caro: Close Up18 October– 30 December 2012Organized by the Yale Center for British Art

Opening Lecture Wednesday, 17 October, 5:30 pmJulius Bryant, Keeper of Word and Image, Victoria and Albert Museum

1080 Chapel StreetP.O. Box 208280 New Haven, Connecticut 06520-8280britishart.yale.edu

publications

This fall sees the publication of The English Prize: The Capture of the Westmorland, An Episode of the Grand Tour, edited by María Dolores Sánchez-Jáuregui and Scott Wilcox. The English Prize is published by the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art, London, in association with the Real Academia de Bellas Artes de San Fernando, Madrid; the Ashmolean Museum of Art and Archaeology, University of Oxford; and Yale University Press, New Haven and London. Generous support has been provided by the David T. Langrock Foundation.

summer and fall visiting scholars

Nicole Blackwood, Andrew W. Mellon Postdoctoral Fellow, Jackman Humanities Institute, University of Toronto

Grace Brockington, Lecturer in History of Art, University of Bristol

Celina Fox, Independent scholar and museums adviser

Caroline Good, Doctoral candidate, University of York and Tate Britain

Rivke Jaffe, Lecturer, Institute of Cultural Anthropology and Development Sociology, Leiden University, The Netherlands

Aimee Marcereau DeGalan, Curator of Collections and Exhibitions, Robert Hull Fleming Museum, University of Vermont

Morna O’Neill, Assistant Professor, Art Department, Wake Forest University

Stephanie O’Rourke, Fourth-year PhD student (ABD), Columbia University

Kathleen Wilson, Professor of History and Cultural Analysis and Theory, Stony Brook University

For complete details of the following exhibitions and programs, please visit britishart.yale.edu, phone 001 203 432 2800, or e-mail ycba.info@yale.edu.