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The Paul Mellon Centre for Studies in British Art
N EWSLETTER Yale University
December 2008 Issue 27
A Conference at the Paul Mellon Centre, 26 – 27 March 2009
The Intimate Portrait
Drawings, Miniatures and Pastels from Ramsay to Lawrence Private Viewing and Public Display The conference will address issues arising from the exhibition ‘The Intimate Portrait: Drawings, Miniatures and Pastels from Ramsay to Lawrence’ (Scottish National Portrait Gallery, Edinburgh, 25 October 2008 to 1 February 2009; the British Museum, Prints and Drawings Gallery, London, 5 March to 31 May 2009). Organized jointly by the National Galleries of Scotland and the British Museum and drawn from their collections, this is the first major exhibition in Britain to focus on this littlestudied genre. The intimate portrait played a much greater role than might be expected at a time when visual culture was dominated by the very public art of painted and sculpted portraiture. In domestic spaces such as sitting rooms, studies, bedrooms and closets, smaller portraits on paper and ivory were at the heart of a more private conversation. But portrait drawings, miniatures and pastels also had a role in the public sphere, shown in vast numbers at the Royal Academy, often contentiously in the same rooms as the oils. The conference will begin with an evening walk through the exhibition led by the curators, Kim Sloan, Curator of British Drawings and Watercolours before 1880 at the British Museum, and Stephen Lloyd, Senior Curator at the Scottish National Portrait Gallery, followed by a reception at the Paul Mellon Centre. On the following day, conference speakers will raise questions of intimate vision, the intimate portrait and the erotic, methods, media, commissioning and display, and the late 19th-century international art-market revival for this type of portraiture.
Sir Thomas Lawrence, Mary Hamilton (detail), 1789, The British Museum
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: Hugh Belsey, Elizabeth Einberg, John Ingamells Advisory Council: Caroline Arscott, 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 16 Bedford Square, London WC1B 3JA Tel: 020 7580 0311 Fax: 020 7366 6730 www.paul-mellon-centre.ac.uk
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CONFERENCE
The Intimate Portrait Conference Programme Thursday 26 March 18.00 Viewing of the exhibition, ‘The Intimate Portrait’, Room 90, the British Museum If the Prints and Drawings Gallery (Room 90 on the 4th floor) is open that evening please meet there; if not please gather in the North (Montague Street) Entrance to the Museum, at 18.00 sharp. 19.1520.45
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Afternoon session introduced and chaired by Peter Funnell (19th Century Curator, the National Portrait Gallery)
14.10
Constance McPhee (Curator of Prints and Drawings, the Metropolitan Museum of Art, New York), and Elizabeth Barker (Director and Chief Curator at the Mead Art Museum at Amherst College, Mass., USA) Fancy Piece or Portrait Study? A Pastel Head by Wright of Derby in the Metropolitan Museum of Art
14.50
Ruth Kenny (University of Nottingham) The intimate and the commercial: Hugh Douglas Hamilton and Pastel Portraiture c. 1760-1790
15.30
Tea
16.00
Jacob Simon (Chief Curator, the National Portrait Gallery), Marketing and displaying portraits on paper in 18th-century Britain
16.40
Stephen Lloyd (co-curator of ‘Intimate Portraits’ and Senior Curator at the Scottish National Portrait Gallery, Edinburgh) Experts and Plutocrats: The revival in the international art-market for British eighteenth-century portrait drawings and miniatures c.1890-1935
17.15
Panel and audience discussion chaired by Shearer West (Director of Research, AHRC)
18.0019.30
Wine reception
Wine reception for delegates and speakers at the Paul Mellon Centre, 16 Bedford Square
Friday 27 March 09.15 Registration 09.45
14.00
Welcome by Brian Allen, Director of Studies, the Paul Mellon Centre
09.50
Introduction to the conference by Kim Sloan (co-curator of ‘The Intimate Portrait’ and Curator, Department of Prints and Drawings, British Museum)
09.55
Morning Session introduced and chaired by Lucy Peltz (18th Century Curator, the National Portrait Gallery)
10.00
Hanneke Grootenboer (Lecturer, History of Art Department, University of Oxford) ‘Kisses Springing from Her eye’: On Intimate Vision of Eye Miniatures
10.40
Katherine Coombs (Katherine Coombs, Curator, Paintings, Victoria and Albert Museum) The eighteenth-century miniature as ‘intimate portrait’: a consideration of the diminutive and the minute
11.20
Coffee
11.50
Marcia Pointon (Professor Emeritus of History of Art at the University of Manchester, and Honorary Research Fellow at the Courtauld Institute of Art, London) Thinking about intimacy and portraiture
12.30
Lunch
Full conference fee, including coffee, lunch, tea and wine reception: £40. Student and Senior Citizen concessions are available at a reduced rate of £20. To register for the conference please check availability with Ella Fleming at the Paul Mellon Centre. Tel: 020 7580 0311 Fax: 020 7636 6730 Email: events@paul-mellon-centre.ac.uk - then send a cheque made payable to the Paul Mellon Centre to: 16 Bedford Square, London, WC1B 3JA, and include a stamped addressed envelope.
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THE PAUL MELLON
LECTURES
2009
Pen and Pencil: Writing and Painting in England, 1750-1850 The Paul Mellon Lectures by Duncan Robinson Master, Magdalene College, Cambridge
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 Academy Schools must ‘warm his imagination with the best productions of ancient and modern poetry.’ 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, Turner’s appreciation of poetry encouraged him to pen his own ’Fallacies of Hope.’ The final lecture is devoted to visionaries and dreamers, to artists for whom, like Blake, the literary and the visual are inseparable in the unity of their art.
The cost of the lectures is £5/£3 concessions or £20/£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
William Hogarth, The Painter and his Pug, 1745 ©Tate, London 2008
Revised Lecture Programme, Wednesday at 6.30 pm 21st January: ‘Subjects I consider’d as writers do.’ William Hogarth 28th January: ‘He can never be a great artist who is grossly illiterate.’ Joshua Reynolds 4th February: ‘From the window I am writing I see all those sweet fields...’ John Constable 11th February: ‘Painting and Poetry ... reflect and heighten each other’s beauties.’ JMW Turner 18th February: ‘I dare not pretend to be anything other than the Secretary; the Authors are in Eternity.’ William Blake
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 the National Gallery at 020 7747 2888.
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GRANT AWARDS
Grant Awards At the October 2008 meeting of the Centre’s Advisory Council, the following grants were awarded: CURATORIAL RESEARCH GRANTS Castle Howard Estate to help support a part-time research curator for two years to work on an exhibition, catalogue and conference on George Howard, 9th Earl of Carlisle (1843-1911) Musée du Louvre to support the final year of work on D’Outre Manche: a database of British Works of Art in French Collections York Museums Trust to support a part-time research curator for two years to work on an exhibition on William Etty (1787-1849) EDUCATIONAL PROGRAMME GRANTS Birmingham Museum & Art Gallery ‘Matthew Boulton Bicentenary’ a public lecture programme at Birmingham Museum and Art Gallery between May and September 2009 Cambridge Victorian Studies Group, Cambridge University ‘From Plunder to Preservation: Britain and the ‘Heritage’ of Empire, c.1820-1940’ an international conference at King’s College, Cambridge, 21-22 March 2009 Tate Britain ‘Van Dyck and the Aristocratic Image’ an international conference at Tate Britain, 26-27 March 2009 Université Paris Diderot ‘William Blake’ an international conference at the Institute for English Studies, Université Paris Diderot, 29-30 May 2009 University of York ‘Anglo-American: Artistic Exchange between Britain and the USA’ an international conference at King’s Manor & Humanities Research Centre, University of York, 23-25 July 2009 RESEARCH SUPPORT GRANTS Ruth Cribb towards research and travel costs in the USA for her doctoral thesis ‘Eric Gill and transformative practices in British Sculpture 1909-1940: networks, contexts and contradictions’ Amy Hale towards research and travel costs in the UK for a publication and exhibition on the work of Ithell Colquhoun Marina Lopato towards research and travel costs in the UK for a ‘Catalogue of British Silver in the Hermitage Museum’
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Lucinda Middleton towards research and travel costs in the UK for an exhibition on ‘Henry Bone, his workshop and family’ Temi-Tope Odumosu towards research and travel costs in the USA for her doctoral thesis ‘The Black Joke: Iconographies of African People in 18th and 19th century English Satirical Prints’ John Potvin towards research and travel costs in the UK for an article on ‘Lord Ronald SutherlandGower: Artist, Dilettante Art Historian, Collector, Decorator’ Robert Proctor towards research and travel costs in the UK for a book on ‘Roman Catholic Church Architecture in Britain, 1955 to 1975’ Kate Retford towards research and travel costs in the UK for a book on ‘David Allan and the Conversation Piece in Britain, c.1720-1790’ Salisbury and South Wiltshire Museum Trust towards research and travel costs in the USA and Europe for an exhibition on ‘Constable and Salisbury’ Giovanni Santucci towards research and travel costs in the UK for work on ‘The Largest Talman Album: a nexus between Catholic and Anglican ecclesiastical architecture’ Amy Sargeant towards research and travel costs in the UK for a conference paper and article on ‘Port Sunlight: Art, Advertising and Industry’ Evelyn Silber towards research and travel costs in the UK to work on ‘Selling the moderns in Britain: the Leicester Galleries and the changing face of dealing and collecting in London 1900-1960’ Chiara Teolato towards research and travel costs in the UK to work on ‘Roman Decorative Bronzes and the Taste for the Antique in the British Country House (1750-1820)’ Gwen Yarker towards research and travel costs in the UK for an exhibition of 18th century portraiture ‘Georgian Faces’ PUBLICATION GRANTS (AUTHOR) Tarnya Cooper Citizen Portrait: Portrait Painting and the Urban Elites of Tudor and Jacobean England and Wales Katy Deepwell Women Artists in Britain between the Two World Wars: ‘A Fair Field and No Favour’ Paul Dobraszczyk Into the Belly of the Beast: Exploring London’s Victorian Sewers
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THE PAUL MELLON CENTRE
Magdalen Evans Utmost Fidelity, the Painting Lives of Marianne and Adrian Stokes Frances Fowle Dealing in Impressionism: A Biography of Alexander Reid Elizabeth Goldring The Intellectual and Cultural World of the Early Modern Inns of Court Michael Hunter Printed Images in Early Modern Britain: Essays in Interpretation Berta Joncus & Jeremy Barlow ‘The Stage’s Glory’: John Rich (1692-1761) John McAleer Representing Africa: Landscape, exploration and empire in southern Africa, 1780-1870 Matthew Payne & James Payne Regarding Thomas Rowlandson, 1757-1827: His Life, Work and Acquaintance William Pressly James Barry (1741-1806): History Painter Kevin Sharpe Representations of Revolutions: Images of Kings and Commonwealths, 1603-1660 Sam Smiles Sir Joshua Reynolds: A Life in Art Banmali Tandan British Architecture in Calcutta in the Georgian Age: An Illustrated Gazetteer Kristina Taylor & Robert Peel Three Hundred Years of the Bute Family Landscapes PUBLICATION GRANTS (PUBLISHER) Beazley Archive, University of Oxford Julia Kagan, The history of gem engraving in Britain from antiquity to the present Ben Uri Gallery, London Jewish Museum of Art Sarah MacDougall & Rachel Dickson (Eds.) The Forced Journey: Artists in Exile in Britain, c.1933–45 Birmingham Museum & Art Gallery Shena Mason (Ed.) Matthew Boulton: selling what all the world desires British School at Rome Robert Coates-Stephens & Valerie Scott, Images from the Past: Rome in the Photographs of Peter Paul Mackay 1890-1901 British School at Rome David Marshall, Susan Russell and Karin Wolfe (Eds.) Roma Britannica: Art Patronage and Cultural Exchange in eighteenth-century Rome Cheltenham Art Gallery and Museum Sophia Wilson & Anne Strathie (Eds.) Hugh Willoughby: The Man who loved Picassos Corcoran Gallery of Art, Washington, D.C. Philip Brookman (Ed.) Helios: The Art of Eadweard Muybridge
GRANT AWARDS
Dorset Natural History & Archaeological Society Gwen Yarker, Georgian Faces Editions Nicolas Chaudun Pascal Dupuy, Les caricatures anglaises face à la Révolution française et à l’Empire. Collections du Musée Carnavalet Francis Boutle Publishers Hazel Harradence & Ronald Perry, Silvanus Trevail: Cornish Architect and Entrepreneur Georg Olms Verlag Grischka Petri, Arrangement in Business: the Art Markets and the Career of James McNeill Whistler Hogarth Arts Ltd Matthew Payne & James Payne, Regarding Thomas Rowlandson, 1757-1827. His Life, Work and Acquaintance Manchester University Press Katy Deepwell, Women Artists in Britain between the Two World Wars: ‘A Fair Field and No Favour’ Master Drawings Association Hugh Belsey, A second supplement to John Hayes’s The Drawings of Thomas Gainsborough National Galleries of Scotland Christopher Baker, Catalogue of English Drawings and Watercolours, 1600-1900 National Maritime Museum Publishing Pieter van der Merwe (Ed.) The Queen’s House: A social and architectural history Nottingham City Museums & Galleries John Bonehill & Stephen Daniels (Eds.) Picturing Britain: Paul Sandby 1731-1809 Oxford University Press (India) Jennifer Howes, Illustrating India: The Early Colonial Investigations of Colin Mackenzie (1784-1821) La Providence: The French Hospital, Rochester Tessa Murdoch & Randolph Vigne, The French Hospital in England: Its Huguenot History and Collections Public Monuments and Sculpture Association Philip Ward-Jackson, Public Sculpture of Westminster Tate Publishing Martin Myrone (Ed.) William Blake: The 1809 Descriptive Catalogue Sansom & Company Ltd Sam Smiles (Ed.) Sir Joshua Reynolds: A Life in Art Spire Books Ltd Paul Dobraszczyk, Into the Belly of the Beast: Exploring London’s Victorian Sewers Walpole Society Walpole Society Journal 2009 Yale University Press Kevin Sharpe, Representations of Revolutions: Images of Kings and Commonwealths, 1603-1660
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PUBLICATIONS
Richard Parkes Bonington: The Complete Paintings by Patrick Noon
Elizabethan Architecture: Its Rise and Fall, 1540–1640 by Mark Girouard
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 nineteenthcentury 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 watercolour 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.
Elizabethan and Jacobean architecture—not the friendly, unassuming architecture of the vernacular but the uniquely strange and exciting buildings put up by the great and powerful—is a phenomenon as remarkable as the literature which accompanied it; the literature of Shakespeare, Spenser, Sidney, Marlow, Jonson, Campion and others. In this beautiful and fascinating book, Girouard discusses social structure and the way of life behind it, the evolution of the house plan, the excitement of English patrons and craftsmen as they learnt about the classic Five Orders and the buildings of Ancient Rome, the surprising wealth of architectural drawings which survive from the period, the inroads of foreign craftsmen who brought new fashions in ornament, but also the strength of the native tradition which was creatively integrated with the ‘antique’ style. Behind the book is a vivid consciousness of the European scene: Italy, France, central Europe and above all the Low Countries and their influence on England. But the principal argument of the book is the unique individuality of the English achievement.
Patrick Noon is Patrick and Aimee Butler Curator of Paintings and Modern Sculpture, Minneapolis Institute of Arts. September 2008 ISBN 978-0-300-13421-6 £85
Mark Girouard is the leading historian of Elizabethan and Jacobean architecture. His books include Life in the English Country House, Town and Country, The Victorian Country House and The English Town, among many others. June 2009 ISBN 978-0-300-09386-5 £45.00
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THE PAUL MELLON CENTRE
The Town House in Georgian London by Rachel Stewart This book takes a fresh look at a familiar building type, the town house in eighteenth-century London, and investigates the circumstances in which individuals made decisions about living in London. It uncovers what occupants of town houses thought about their property, why and how they chose or built it, paid for it, used it, decorated it and sold or bequeathed it, and what uses it had for them beyond simply accommodation. This book takes as a starting point the houseowner, occupant or architect’s client, and through extensive and original use of anecdotal evidence opens up a wealth of unforeseen values, uses and connections attaching to the house and how it functioned in the context of family relations, financial, legal and property transactions, as well as in the construction of personal identity. Stewart reveals the negative press attention the town house received in its own time and demonstrates how the house was associated with notions of transience, changeability, imperfection, luxury, and selfishness. By stepping into the previously unexplored world of the houseowner, the book offers an entirely original reading of a familiar type of building. Rachel Stewart is Director, Centre for Career Management Skills, University of Reading. Mar 2009 ISBN 978-0-300-15277-7 £30.00
PUBLICATIONS
John Singer Sargent, volume 6, Venetian Figures and Landscapes 1898-1913 by Richard Ormond and Elaine Kilmurray Throughout his career, and particularly in the period from 1898 to 1913, John Singer Sargent painted the spectacular architecture and scenes of everyday life in Venice, as he sat alongside the Grand Canal or in a gondola in the sleepy side canals. This lavishly illustrated book presents all the luminous masterworks that Sargent completed during that fertile fifteen-year period: oils and watercolours that reveal his taste for the Renaissance, Baroque, and high style in art and architecture as they were seen in the city’s unique light. The book reproduces and documents 141 works, including several that are published for the first time. An authoritative essay explores the aesthetics of Sargent’s Venetian work, places it in the context of his oeuvre as a whole, explains Sargent’s relationships with his patrons in Venice, and discusses the exhibitions and marketing of this work in London and New York. The book also provides a map of Venice marking every known location that Sargent painted and dozens of contemporary photographs of the sites. Richard Ormond, formerly Director of the National Maritime Musem, Greenwich, is an independent art historian. He is great-nephew of John Singer Sargent. Elaine Kilmurray is co-author of a number of books and exhibition catalogues on John Singer Sargent. Mar 2009 ISBN 978-0-300-14140-5 £50.00
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ya l e center for british art New Haven, Connecticut 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 Benjamin West and the Venetian Secret, through 4 January 2009 Co-organized by the Yale Center for British Art and the Yale University Art Gallery Sun, Wind, and Rain: The Art of David Cox, through 4 January 2009 Co-organized by the Yale Center for British Art and Birmingham Museums & Art Gallery, where it will be on view from 31 January through 3 May 2009. “Endless forms”: Charles Darwin, Natural Science and the Visual Arts Yale Center for British Art: 12 February–3 May 2009 Fitzwilliam Museum: 16 June–4 October 2009 Organized by the Fitzwilliam Museum, University of Cambridge, in association with the Yale Center for British Art. A fully illustrated publication will be published by the Fitzwilliam Museum and the Yale Center for British Art in association with Yale University Press. Paintings from the Reign of Victoria: The Royal Holloway Collection, London 7 May–26 July 2009 Organized and circulated by Art Services International, Alexandria, Virginia
p u b l i c at i o n s The History of British Art: 600–1600, 1600–1870, 1870–now General editor, David Bindman This 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, maps, chronologies, and more. Published by Tate Britain in association with the Yale Center for British Art and Tate Publishing. It is distributed in North America by Yale University Press. John Talman: An Early-Eighteenth-Century Connoisseur Studies in British Art Vol 19 Edited by Cinzia Maria Sicca This is the nineteenth in a series of occasional volumes devoted to studies in British art, published by the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art and distributed by Yale University Press.
selected lectures s i r j o h n s oa n e ’ s m u s e u m f o u n dat i o n l e c t u r e Tuesday, 13 January 2009, at 6:30 pm Robert A. M. Stern, architect and Dean of the Yale School of Architecture, will discuss his designs for 15 Central Park West, New York, and the Comcast Center in Philadelphia. Co-organized by the Yale Center for British Art and Sir John Soane’s Museum Foundation. Union Club, New York City; reservations required; tickets are $30/$15 concessions. To reserve call 212 223 3012 or e-mail chas@soanefoundation.com.
pau l m e l lo n l e c t u r e s Pen and Pencil: Writing and Painting in England, 1750–1850 Tuesdays–Thursdays, 14–28 April 2009, at 5:30 pm Duncan Robinson, Master of Magdalene College, University of Cambridge The Paul Mellon Lectures are given biennially first at the National Gallery in London, and, with the support of the Paul Mellon Centre, again at the Yale Center for British Art.
a n d r e w w. m e l lo n f o u n dat i o n senior visiting scholars February 2009: Professor Dame Gillian Beer, King Edward VII Professor of English Literature and President of Clare Hall (ret.), University of Cambridge April 2009: David Bindman, Professor Emeritus of the History of Art, University College, London
visiting scholars January 2009 Viccy Coltman, Senior Lecturer, History of Art, University of Edinburgh’s School of Arts, Culture, and Environment Karen Hellman, PhD candidate, The Graduate Center, City University of New York Davide Lombardo, Adjunct Professor of Metropolitan Studies, New York University in Florence January–February 2009 Marianne Clerc, Lecturer, Department of the History of Art, Université Pierre Mendès-France Grenoble II February–March 2009 Ellenor Alcorn, Independent Curator and Freelance Writer, and Consultant Curator for the Gans Collection of English Silver, Virginia Museum of Fine Arts in Richmond Anke Kattner, PhD candidate, Ludwig-Maximilians-Universitat, Munich, Germany March–June 2009 Stacy Sloboda, Assistant Professor of Art History, Southern Illinois University, Carbondale April 2009 Jeremy Melius, PhD candidate, University of California at Berkeley Sebastian Mitchell, Lecturer in English Literature, University of Birmingham
William Dyce, Pegwell Bay, Kent—A Recollection of October 5th, 1858 (detail), 1858-60, oil on canvas, Tate, London