The Paul Mellon Centre for Studies in British Art - Yale University
June 2008 Issue 26
newsletter 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, 6.30-7.30pm Sainsbury Wing Theatre, The National Gallery, London Academy Schools must ‘warm his imagination with the best productions of ancient and modern poetr y.’ For Gainsborough, Reynolds’s opposite in every sense, intimate correspondence took the place of formal lecture; from the letters he wrote to his friends we gain an appreciation of the man as well as insights into his painting. And the same holds true of Constable. By contrast again, Turner’s appreciation of poetry encouraged him to pen his own ‘Fallacies of Hope.’ The final lecture is devoted to visionaries and dreamers, to ar tists for whom, like Blake, the literary and the visual are inseparable 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 each other’s beauties.’ J M W Turner 5. ‘I dare not pretend to be anything other than the Secretary; the Authors are in Eternity.’ William Blake William Hogarth, “The Painter and his Pug”, 1745 ©Tate, London 2008
Among British poets of the mid-eighteenth century there was, for some, a sense of haitus, and of their own inadequacy as the heirs to Shakespeare, Milton and Pope. On the other hand, painters at the time looked enviously at the status of poetry, seeking, in Reynolds’s words, to ‘acquire for their profession the name of a Liberal Art, and rank…as a sister of poetry.’ In these lectures, Duncan Robinson attempts to show the importance of literature in the broadest sense, in the development of the visual arts in Britain. For Hogarth ‘my picture was my stage,’ and his scenes from life as he saw it paved the way for that narrative tradition in English painting so beloved of the Victorians. From his lectern, Reynolds not only discoursed on art but raised the bar for his profession by insisting that the student at the Royal 16 Bedford Square
London WC1B 3JA
Tel: 020 7580 0311
TIckets are £5 or (£3 concessions) £20 or £15 for the whole series. Tickets may be booked either: Online: www.nationalgallery.org.uk/what By post: cheques made payable to The National Gallery and sent to Advance Tickets Sales, The National Gallery, Trafalgar Square, London WC2N 5DN
In person: from the Advance Tickets and Audio Guide desks, Level O, Getty Entrance
On the day: any remaining tickets will be on sale half an
hour before the start of each event. Payment by cash or cheque only.
For information only, please telephone 020 7747 2888 Fax: 020 7636 6730
www.paul-mellon-centre.ac.uk
Paul Mellon Centre conference
Vauxhall Revisited: pleasure gardens and their publics 1660-1880 An interdisciplinary conference, accompanied by a concert at Tate Britain, 14-16 July 2008
J. S. Muller after Samuel Wale, “View of Vauxhall Gardens”, 1751 (c) Guildhall Library, City of London
Pleasure Gardens have been discussed by historians such as John Brewer and Roy Por ter as typifying a nascent public sphere, one identified with the ‘commodification’ of culture and the rise of the ‘middling rank’. Much of our knowledge of these ga r den s i s st ill fo u nd ed on Warwick Wroth’s works, now more than a century old. For all the importance of the individual composers, painters and artists active within them, pleasure gardens have been neglected by historians of early modern theatre, music, ar t and dance. Those historians and literar y scholars who have addressed t h e m h av e f o c u s e d a l m o s t exclusively on the 1760s and 1770s, ignoring their Caroline origins and Victorian
development. Pleasure Gardens outside London and in other European countries have also received insufficient attention. It is hoped that this conference will go some way towards bridging the disciplinary, methodological and geographical divides which have hither to isolated scholars interested in different aspects of the pleasure garden. The conference is supported by The Pa ul M el l on Cent r e fo r Studies in British Art, Tate Britain and The Museum of Garden Histor y. Additional suppor t is provided by the Royal Musical Asso cia t i o n , T h e M us i c a nd Letters Trust and Southampton University’s Music Depar tment, History Depar tment and School of Humanities. The convener is
Dr Jonathan Conlin, University of Southampton. Speakers include Peter Borsay, John Brewer, Rachel Cowgill, John Dixon Hunt, Deborah Epstein Nord, Aileen Ri bei r o, Wi l li a m Webe r an d Simon McVeigh. For further information including programme details, please visit our website at: http://www. paul-mellon-centre.ac.uk/ eventsf/vauxhall.html The conference fees are £80 (full), £60 (students/concessions) To register for this conference please contact Tate Ticketing Ser vices at: https://tickets.tate.org.uk/select show.asp Telephone: 020 7887 8888 Email: ticketing@tate.org.uk
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
2
Paul Mellon Centre conference
Living with the Royal Academy: Artistic Ideals and Experiences in Britain, 1768-1848 The Centre for Eighteenth Century Studies and the Department of History of Art, University of York, The King’s Manor, York. November 28-29 2008
I n 2 0 0 1 , D av i d S o l k i n ’s e d i t e d vo l u m e a n d exhibition Art on the Line: the Royal Academy Exhibitions at Somerset House, 1780-1836 offered new and influential approaches to the Academy’s a n nu a l e x h i b i t i o n s a s e ve n t s w i t h d y n a m i c implications for ar tists and their audiences. This conference sets out to extend the lines of enquir y opened up in Art on the Line through a heightened attention to the textures of ar tists’ relationships with the Royal Academy in late-eighteenth and early-nineteenth-centur y Britain. In par ticular, it aims to explore the Academy as a lived organism, one whose most effective role was as a reference point towards, around and against which ar tists organized their relationships with each other and with ar tistic practice itself. This two-day event, suppor ted by the Paul Mellon Centre for Studies in British Ar t, will feature an international range of speaker s, including John Barrell, John Bonehill, Ann Bermingham, Matthew Craske, Rosie Dias, Jason Edwards, Mark Hallett, Iain McCalman, Sarah Monks, Mar tin Myrone , Mar tin Postle and Aris Sarafinos. The conference is being organised by John Barrell, Mark Hallett and Sarah Monks of the University of York. Tickets, which include lunches, coffees and teas, cost £60 (£30 concessions). Cheques payable to ‘University of York (Living with the Academy)’ and sent to: Clare Bond, Conference Administrator (Living with the Academy), Centre for Eighteenth Century Studies, University of York, The King’s Manor, Exhibition Square, York YO1 7EP. E-mail enquiries may be addressed to Clare Bond cmb14@york.ac.uk 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
Architecture, diplomacy and national identity: Sir Basil Spence and mid-century modernism A Conference at the British School at Rome, 3-5 December 2008
The recent exhibition, Back to the Future: Sir Basil Spence 1907-76, organized by the National Galleries of Scotland (19th October 2007 – 10th Februar y 2008) to mark the centenar y of Spence’s bir th, triggered new interest in the wor k of this once most celebrated of British twentieth-centur y a r c h i t e c t s . T h i s c o n fe r e n c e i s d e s i g n e d t o examine the architecture of Sir Basil Spence in the context of the flamboyant and exuberant modes of design developed in the mid-twentieth century for national representational buildings, from embassy and parliament buildings to international exhibition pavilions. The conference, suppor ted by the Paul Mellon Centre for Studies in British Art, will consider the use made of classical prototypes and forms by midcentury modernist architects, and compare Spence’s work with that of Lutyens, Le Corbusier, Saarinen and Kahn. We will also look at the reception of Spence’s Embassy building by architects and critics in Italy, where it was termed ‘una lezione di civiltà’ (a lesson in courtesy) by one writer, and consider it in the light of post-war Italian architecture and attitudes to building in the Eternal City. Speakers will include: Gavin Stamp (London) on Lutyens and Spence, Robin Skinner (University of Victoria, Wellington, New Zealand) on the design of the New Zealand Parliament building, Jane Loeffler (University of Mar yland) on the architecture of diplomacy, Eeva-Liisa Pelkonen (Yale University) on Saarinen’s US Embassy in London, Miles Glendinning (Edinburgh College of Ar t) on Spence’s British Embassy in Rome and Maristella Casciato (University of Bologna) on post-war Italian architecture. For fur ther details, contact Dr Susan Russell, Assistant Director, The British School at Rome, via Antonio Gramsci 61, 00197 Rome, Italy. Telephone: 00+39+06 3264939 or 0632649372 Email: s.russell@bsrome.it or Geraldine Wellington at g.wellington@bsrome.it
3
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: Senior Fellowships Research Support Grants
Prof Mark Crinson to prepare his book Stirling and Gowan – Post-Industrial Architecture Prof William Vaughan to prepare his book ‘Mysterious Wisdom’ – The Art and Career of Samuel Palmer
Rome Fellowships
Dr William Eisler for research in Rome for his essay ‘The medals of Martin Folkes: art, Newtonian science and Masonic sociability in the age of the Grand Tour’ and his book The Medal in the World of the Enlightenment
Postdoctoral Fellowships
Altino Rocha to prepare his book War, Science and Architecture. From Crystallography to Architecture Computing Rebecca Scragg to prepare three articles from her thesis Consuming Contemporary Art: London 1914 -23 Hester Westley to prepare her book Traditions and Transitions: St Martin’s Sculpture Department, 1960 -1969 Mimi Yiu to prepare her book Building Platforms: Staging the Architecture of Early Modern Subjectivity
Junior Fellowships
Laurel Flinn, The Johns Hopkins University, to conduct research in the United Kingdom for her doctoral thesis Elegant Buildings and Pestilential Alleys: Regulation and Resistance in the Transformation of London’s West End, 1750 - 1830 Caroline Fuchs, Humbolt University, Berlin, to conduct research in the United Kingdom for her doctoral thesis Colour Value – The Autochrome in Great Britain Matthew Woodworth Duke University, to conduct research in the United Kingdom for his doctoral thesis The Thirteenth-Century Choir and Transepts of Beverley Minster
Educational Programme Grants
Cheltenham Art Gallery & Museum grant towards a series of talks linked to the exhibition Surrealism Returns (September-November 2008) Roehampton University grant towards a conference The ‘Pictorial Turn’ in History (April 2008) Serpentine Trust grant towards a conference at Birkbeck College, University of London, Against the Grain: Learning from Derek Jarman’s Cinema (April 2008) University of Westminster grant towards a study day Capital Views: Aerial Vision and the Changing Image of London (November 2008) Whitworth Art Gallery, University of Manchester grant towards a Walter Crane study day Envisioning Utopia: The Urban and the Pastoral in British Art and Socialist Politics, 1870-1900 (December 2008) 4
Alison Brisby for research in the United Kingdom on ‘The painted works of George Howard, 9th Earl of Carlisle’ Samantha Burton for research in the United Kingdom on ‘Home and away: tourism and identity in the work of Elizabeth Armstrong Forbes, Harriet Ford, Mary Alexandra Bell Eastlake and Helen McNicholl’ Georgina Cole for research in the United Kingdom on ‘Paintings of Joseph Highmore and Thomas Gainsborough’ Andrea De Meo for research in the United Kingdom on ‘Features and functions of court catholic chapels between 16th and 17th century’ Susanna Falabella for research in the United Kingdom on ‘Thomas Martyn (1735 -1825) the analysis of the unpublished correspondence for the definition of the historic-artistic interests of a traveller through Italy’ Elizabeth Lebas for research in the United Kingdom on ‘Forgotten Futures: British Municipal Cinema, 1920-78’ Helen McCormack for research in the United Kingdom on ‘Dr William Hunter and the British School of Art’ Paola Modesti for research in the United Kingdom on ‘Architectural Exempla between Venice and England in the Eighteenth Century: Travels, Drawings, and Books’ Edward Nyg ren for research in the United Kingdom on ‘The letters of James Ward, RA (17691859)’ Patricia Reed for research in South Africa for a ‘Catalogue raisonné of the oil paintings of William Nicholson (1872-1949)’ Abbie Sprague for research in the United Kingdom on ‘The Birmingham School of Art: Arts and Crafts Painting in Birmingham’ Glenn Sujo for research in the United Kingdom and Europe on ‘Jankel Adler in Britain’ Francois Tainturier for research in Myanmar/Burma on ‘The Art of Making Cities: Rangoon and Mandalay in-mid-19th-century Burma’ Carolyn Yerkes for research in the United Kingdom on ‘Sir Thomas Browne and seventeenthcentury diagrams’ The next application deadline for Curatorial Research, Publication (Author), Publication (Publisher), Educational Programme 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 at grants@paul-mellon-centre.ac.uk
Paul Mellon Centre publications
British child by the British hearth’. Neiswander traces this evolving discourse within the context of current writing on interior decoration, writing that is much more detached from social and political issues of the day.
UNSEEMLY PICTURES Graphic Satire and Politics in Early Modern England Helen Pierce This engaging book is the first full study of the satirical print in seventeenthcentury England from the rule of James I to the Regicide. It considers graphic satire both as a particular pictorial category within the wider medium of print and as a vehicle for political agitation, criticism and debate. Helen Pierce demonstrates that graphic satire formed an integral part of a wider culture of political propaganda and critique during this period, and she presents many witty and satirical prints in the context of such related media as manuscript verses, ballads, pamphlets and plays. She also challenges the commonly held notion that a visual iconography of politics and satire in England originated during the 1640s, tracing the roots of this iconography back into native and European graphic cultures and traditions. Helen Pierce is a postdoctoral research fellow based at the Centre for Renaissance and Early Modern Studies at the University of York September 2008 224 pp. 256 x 192mm. 100 b/w illus. ISBN 978-0-300-14254-9 £35.00
Judith A. Neiswander is an independent art historian. October 2008 256 pp. 254 x 178mm. 70 b/w illus. ISBN 978-0-300-12490-3 £35.00
WILLIAM MORRIS AND EDWARD BURNE-JONES Interlacings Caroline Arscott THE COSMOPOLITAN INTERIOR Liberalism and the Victorian Home, 1870–1914 Judith A. Neiswander Literature on domestic interior decoration first emerged as a popular genre in Britain during the 1870s and 1880s, as middle-class readers sought decorating advice from books, household manuals, women’s magazines and professional journals.
desirable appearance of the home. In the period preceding the First World War, these values changed dramatically: advice on decoration became more nationalistic in tone and a new goal was set for the interior—‘to raise the
The friendship between William Morris and Edward Burne-Jones began when they met as undergraduates in 1853 and lasted until Morris’s death in 1896, despite their differences in temperament and in attitudes to political engagement. This friendship
This intriguing book examines that literature and shows how it was influenced by the widespread liberalism of the middle class. Judith Neiswander explains that during these years liberal values—individuality, cosmopolitanism, scientific rationalism, the progressive role of the elite and the emancipation of women— informed advice about the 5
Paul Mellon Centre publications
was one of the defining features of both their lives, and yet the overlap in their artistic projects has not previously been considered in detail. In this deeply thoughtful book, Caroline Arscott explores particular aspects of the paintings of Burne-Jones and the designs of Morris and concludes that there are close interconnections in theme, allusion and formal strategy between the works of the two men. She suggests that themes of bodily pain, desire and appetite are central to their vision. Through careful readings of Burne-Jones’s painting and Morris’s designs for printed wallpapers and textiles, she shows that it is possible to bring together fine art and design in a linked discussion that illuminates the projects of both artists Caroline Arscott is senior lecturer, Courtauld Institute of Art, University of London. October 2008 224 pp. 279 x241mm. 40 b/w + 60 colour illus. ISBN 978-0-300-14093-4 £40.00
DESIGN AND PLAN IN THE COUNTRY HOUSE From Castle Donjons to Palladian Boxes Andor Harvey Gomme and Alison Maguire The way a man thinks about his day-to-day living and the needs of his household reveals a great deal about his ambitions, his idea of himself, and his role in the community. And his house or castle offers many clues to his habits as well as 6
those of the members of his household. This intriguing book explores the evolution of country house plans throughout Britain and Ireland, from medieval times to the eighteenth century. With photographs and detailed architectural plans of each of the 180 houses
under discussion, the book presents a whole range of new insights into how these homes were designed and what their varied plans tell us about the lives of their residents. Starting with fortified medieval tower houses, the book traces patterns that developed and sometimes repeated in country house design over the centuries. It discusses who slept in the bedchambers, where food was prepared, how rooms were arranged for official and private activities, what towers signified, and more. Groundbreaking in its depth, the volume offers a rare tour of country houses for scholar and general reader alike. July 2008 Hardback 356pp. 200 b/w + 80 colour illus. ISBN: 978-0-300-12645-7 £50.00
SLAVERY, SUGAR, AND THE CULTURE OF REFINEMENT Picturing the British West Indies, 1700-1840 By Kay Dian Kriz This highly original book asks new questions about paintings and prints associated with the British West Indies between 1700 and1840, when the trade in sugar and slaves was the most active and profitable. In a wide-ranging study of scientific illustrations, scenes of daily life, caricatures and landscape imagery, Dian Kriz analyses the visual culture of refinement that accompanied the brutal process in which African slaves transformed 'rude' sugar cane into pure white crystals. These works variously imagine Britain's Caribbean colonies as curious, frightening, deadly, pleasurable and even funny for viewers on both sides of the Atlantic. Refinement is usually associated with the metropole and 'rudeness' with the colonies. And indeed, many of the artists considered here successfully capitalised on those characteristics of rudeness-
animality, sensuality and savagery that increasingly came to be associated with all the inhabitants of the sugar islands. But many of the images and texts that form the subject of this book complicate this geographical division. Artists such as the Italian Agostino Brunias, working for a British colonial administrator in Dominica, and Scottish Academician Joseph Kidd, whose brother was a merchant and local official in the north of Jamaica, produced paintings and prints that offered the possibility of colonial refinement, not just economic profit and sexual pleasure. Kay Dian Kriz is Associate Professor of Art History at the Department of History of Art and Architecture, Brown University. She is the author of The Idea of the English Landscape Painter, published by Yale University Press. 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
painting locates itself at the start of a trajectory linking the art of the Age of Revolution with the postmodern culture of the present day.
PAINTING OUT OF THE ORDINARY Modernity and the Art of Everyday Life in Early NineteenthCentury Britain David Solkin At the height of the Napoleonic Wars, London's art world was taken by storm by a new generation of painters, whose novel approach to the depiction of everyday life critics loudly trumpeted as a sign of the nation's cultural preeminence. Led by the precociously talented David Wilkie, this highly successful artistic movement sought to transform what was generally regarded as a low and vulgar pictorial tradition, with its roots in seventeenth-century Flanders and Holland, into a vehicle for entertaining but improving narratives which would set new standards of truthfulness in their imitation of nature. But on a deeper level, as David Solkin shows in this
provocative yet highly accessible study, the same phenomenon registered the ambivalent feelings of a country in the throes of economic growth, and of conflict both at home and abroad. What emerges from the imagery of Wilkie and his colleagues – among them William Mulready, Edward Bird and the controversial watercolourist Thomas Heaphy – is a widespread sense that the ordinary lives of the common people are becoming increasingly bound up with the exceptional events of 'history'; that traditional boundaries between country and city are in the process of melting away; and that a more regularised and dynamic present is everywhere encroaching upon the customary patterns of the past. In its fascination with the compression of space and time, early nineteenthcentury British genre
David Solkin is Professor of the Social History of Art, Courtauld Institute of Art. He is the author of Painting for Money: The Visual Arts and the Public Sphere in Eighteenth-Century England and the co-author and editor of Art on The Line: The Royal Academy Exhibitions at Somerset House 1780-1836, both published by Yale University Press. July 2008 Hardcover 384 pp. 295x248mm. 100 b/w + 150 colour illus. ISBN 978-0-300-14061-3 £45.00
RICHARD PARKES BONINGTON: The Complete Paintings Patrick Noon Only twenty-five at the time of his death in 1828, young Richard Parkes Bonington nevertheless was a seminal figure in the development of modernism in nineteenth-century French painting. By birth he was Anglo-French, and he epitomized the new spirit
of internationalism in which Constable was honored by the Academy in Paris in 1824; Bonington was there to witness the event. Mediating between the two traditions, he explored the potential of watercolour for fresh transient landscapes and drew inspiration not only from Delacroix but also from the work of Walter Scott and Byron in his history paintings. This catalogue raisonné of his oil and watercolor paintings represents the first attempt to establish and present the artist’s complete known oeuvre. Drawing on twenty-five years of research, Patrick Noon catalogues, analyzes, and reproduces 400 artworks now indisputably attributed to Bonington, many of which have never before been published. The book sets Bonington’s achievement in the context of the intellectual, social, and artistic ferment of high romanticism in Paris and London and it shows the profound effect of his style on his friend and contemporary, Eugène Delacroix, and many others. Noon’s detailed and accurate study will inform all future discourse on Bonington and his remarkable legacy. Patrick Noon is Patrick and Aimee Butler Curator of Paintings and Modern Sculpture, Minneapolis Institute of Arts. September 2008 Hardcover 360pp. illus ISBN-13: 978-0300134216 £85.00 7
ya l e center for british art 1080 Chapel Street P.O Box 208280 New Haven, Connecticut 06520-8280 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. e x h i b i t i o n s at t h e c e n t e r Joseph Wright of Derby in Liverpool 22 May–31 August 2008 Co-organized by the Yale Center for British Art and the Walker Art Gallery, National Museums Liverpool Great British Watercolors from the Paul Mellon Collection 10 June–17 August 2008 Organized by the Yale Center for British Art in association with the Virginia Museum of Fine Arts, Richmond Benjamin West and the Venetian Secret 18 September 2008–4 January 2009 Organized 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.
c u r ato r i a l e xc h a n g e w i t h t h e v & a In 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 eighteenth-century Britain.
visiting scholars June Meghan Doherty, PhD candidate, University of Wisconsin, Madison July Michèle 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-August John Styles, Research Professor in History, University of Hertfordshire
Sun, Wind, and Rain: The Art of David Cox 16 October 2008–4 January 2009 Co-organized by the Yale Center for British Art and Birmingham Museums & Art Gallery
Amanda Vickery, Reader in the History of Women and Gender, Royal Holloway, University of London
p u b l i c at i o n s
September Amy Tims, Ph.D. candidate at Rutgers University
The Yale Center for British Art is pleased to announce the following new publications: Sun, Wind, and Rain: The Art of David Cox Scott Wilcox This 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 Art David Bindman This 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 association with Tate Britain (October 2008).
David Cox, Sun, Wind, and Rain (detail), 1845, watercolor over graphite on wove paper, Birmingham Museums & Art Gallery
August Richard Stephens, Independent Scholar
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 October James 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–December Alison Inglis, Senior Lecturer and Program Head, Art History, University of Melbourne