Newsletter - Issue 34

The Paul Mellon Centre for Studies in British Art

N EWSLETTER Yale 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 Centre from October 2012 Mark Hallett, currently Professor of History of Art at the University of York, is to become the new Director of Studies at the Paul Mellon Centre from October this year.

Educated at the University of Cambridge and at the Courtauld Institute of Art, and a previous recipient of an Andrew W. Mellon Fellowship at Yale University, Professor Hallett’s research has focused on British art between 1650 and 1850. His books in this area include The Spectacle of Difference: Graphic Satire in the Age of Hogarth, published by Yale University Press in 1999, and Hogarth, published by Phaidon Press in 2000. He is currently completing a book entitled Joshua Reynolds: Portraiture in Action, which is to be published by Yale University Press in 2013. Professor Hallett has also worked on a number of exhibition projects with Tate Britain, including James Gillray: The Art of Caricature of 2001, Joshua Reynolds: The Creation of Celebrity of 2005 and the international loan exhibition Hogarth, which he co-curated with Christine Riding. The latter exhibition opened at the Louvre in October 2006, travelled to Tate Britain in February 2007, and then moved to the Caixa Forum in Barcelona in May 2007. More recently, he co-curated the exhibition William Etty: Art and Controversy at York Art Gallery, which opened in June 2011, and attracted more than 115,000 visitors.

In 2009, Professor Hallett was awarded a major AHRC grant to lead a three-year collaborative research project he developed with art historians at Tate Britain, which deals with the history of British art between the Restoration and the early 18th century. Court, Country, City: British Art 1660-1735 has generated a series of conferences, two exhibition displays and the scholarly website The art world in Britain 1660-1735. Since 2007, he has been the Head of the History of Art Department at York, where he has overseen a dynamic phase of growth

Photograph: Hugh Hood

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

Professor Hallett said: ‘Being invited to become the next Director of Studies at the Paul Mellon Centre is a great honour and I look forward to working together with a wonderful team of colleagues – both in London and at Yale – in promoting the most exciting and ambitious research into British art.’

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 Lauze Archivist and Records Manager: C harlotte Brunskill IT/Website/Picture Research: Maisoon Rehani Administrative Assistant: Ella Fleming Yale-in-London Coordinator: Viv Redhead Grants Administrator: Mary Peskett Smith Editor Research Projects: G uilland Sutherland Senior Research Fellows, Special Projects: Hugh Belsey, Elizabeth Einberg, A lex K idso n, Eric Shanes, Paul Spencer-Longhurst Advisory Council: C aroline A rscott, Paul Binski, Penelope C urtis, Philippa G lanville, Mark Hallett, Michael Hatt, Nigel Llewellyn, A ndrew Moore, Sandy Nairne, Elizabeth Prettejohn, G avin 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

THE PAUL MELLON CENTRE

CONFERENCES

DICKENS AND THE VISUAL IMAGINATION 9–10 July 2012 Dickens and the Visual Imagination is an international conference co-hosted by the University of Surrey and the Paul Mellon Centre for Studies in British Art. There will also be a reception at Watts Gallery in Compton, Surrey, to coincide with the gallery’s exhibition Dickens and the Artists.

This two-day conference will explore the interfaces between art history and textual scholarship through the work of Charles Dickens. Dickens is renowned for the richness of his visual imagination, and his publications encouraged readers to interpret his words with and through the accompanying illustrations. Not only was Dickens deeply engaged with ideas of the visual in his writing, but his work has also provoked responses from artists across multiple disciplines within the Victorian period and beyond. The conference seeks to build on recent interdisciplinary work that illuminates nineteenthcentury understandings of visual culture. By focussing the conference through a writer whose work is embedded in the visual imagination, Dickens will provide a test case for examining and theorising the connection between text and image across two hundred years of cultural history.

9 July The University of Surrey, Guildford

Stained Glass Window showing Dickens as a Young Man

by John Wimbolt (1929) copyright Charles Dickens Museum, London

Andrew Sanders (University of Durham), ‘Some of Dickens’s Rooms’ Panel 1: Dickens on Stage: papers from Karen Laird (University of Manchester); Christopher Pittard (University of Portsmouth); Pete Orford (University of Birmingham).

Panel 2: The Sights of London: papers from Christine Corton (University of Cambridge); Ursula Kluwick (University of Bern); Estelle Murail (University of Paris VII); Panel 3: Revisionings of Dickens: papers from Aleksandra Piasecka (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 College London); 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); Jonathan Buckmaster (Royal Holloway, University of London).

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

10 July The Paul Mellon Centre for Studies in British Art 16 Bedford Square, London WC1B 3JA Lynda Nead (Birkbeck, University of London), ‘’to let in the sunlight’: Dickens, Lean and the Chiaroscuro of Postwar Britain’ Panel 7: Perception and Perspective: papers from Andrew Mangham (University of Reading); Janice Carlisle (Yale University); Aleza Tadri-Friedman (St. Johns University, New York).

Panel 8: Dickens and Painting: papers from Dehn Gilmore (California Institute of Technology); Pat Hardy (Museum of London); Vincent Alessi (La Trobe University) Kate Flint (University of Southern California), ‘Dickens and Street Art’

A full conference programme, with details of papers and ticketing, is available on the University of Surrey website at www.surrey.ac.uk/english/research/dickens2012.

Contact: Dr Gregory Tate at g.tate@surrey.ac.uk.

THE PAUL MELLON CENTRE CONFERENCES

LOOKING AHEAD: THE FUTURE OF THE COUNTRY HOUSE The Attingham Trust 60th Anniversary Conference 12–13 October 2012 To be held at The Royal Geographic Society, 1 Kensington Gore, London SW7 The Attingham Trust, supported by the Paul Mellon Centre, celebrates its sixtieth anniversary with a conference considering the current state of historic houses in the United Kingdom, the Republic of Ireland, the United States, and Australia. Speakers from each of those countries discuss successful current developments as well as the varying problems that each country faces – including the rapid decline of the traditional house museum in the USA, the attempts to preserve houses in the Republic of Ireland, and the developing role of the historic house in Australian conservation. The British country house is studied from the point of view of private and public owners including impressive case studies and depressing cuts in funding, and illuminated from an academic, curatorial and dramatic perspective.

Friday 12 October 2012 Confessions of a Country House Snooper: Tim Knox interviews John Harris, Tim Knox, Director, Sir John Soane s Museum and John Harris, Architectural Historian Changing Perceptions of the Country House in Britain Giles Waterfield, The Attingham Trust, Studying the Country House: Views from the Academy Charles O Brien, Series Editor, Pevsner Architectural Guides, The Country House in The Buildings of England 1951–2011 Dr. Christopher Ridgway, Curator, Castle Howard, The Role of the Curator and Librarian: Changing Attitudes to Country House Collections New Visions for Old Houses: The Private Perspective Edward Harley, President of the Historic Houses Association, Introduction The Duke of Buccleuch and Queensberry, KBE DL, The Buccleuch Estates Miranda Rock, Burghley House in the Twenty-First Century The Lord Fellowes of West Stafford, DL, Perspectives on the Historic House

Saturday 13 October 2012 Houses in trust: The Country House in Public/Charitable Ownership Jeremy Musson, Architectural Historian, The Crisis of the 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, Presenting the Historic House: A Perspective from English Heritage The Irish Country House Terence Dooley, Director of CSHIHE, National University of Ireland, Maynooth, The Picture in Ireland today Kevin Baird, Director, Irish Heritage Trust, The Work of the Irish Heritage Trust Time to Rethink? The House Museum in the United States Sean Sawyer, Executive Director, The Royal Oak Foundation, Falling Down: The Current State of the Historic House in America John Tschirch, Director of Museum Affairs, Newport Preservation Society, Newport and Beyond Craig Hanson, Associate Professor, Calvin College, Michigan, The American House Museum in Historical Perspective The Australian Country House: Past and Future Virginia Lee, Professor, University of Melbourne, The Country House in Australia: Setting the Scene Karen Burns, University of Melbourne and Mark Taylor, Professor, University of Newcastle, Australia, The Country House in Contemporary Australia The cost of the conference is £55 per day, to include all refreshments. The programme, a booking form and a Paypal link (if you wish to pay this way) can be found on the Conference page of the Attingham Trust website. Every booking and payment must be accompanied by a fully completed booking form.

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

THE PAUL MELLON CENTRE

FELLOWSHIP AND GRANT AWARDS

Fellowship and Grant Awards At the March 2012 meeting of the Centre’s Advisory Council the following Fellowships and Grants were awarded: SENIOR FELLOWSHIPS

EDUCATIONAL PROGRAMME GRANTS

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

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

Matthew Craske, Oxford Brookes University, to prepare his book Wright of Derby: The Art of Friendship Julian Luxford, University of St Andrews, to prepare his book Medieval Drawings in England, Scotland and Wales: Medium and Message

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

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

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

ROME FELLOWSHIPS

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

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

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

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

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 May 2012: Transition in the Medieval World

POSTDOCTORAL FELLOWSHIPS Jessica Berenbeim, Harvard University, to prepare her book Art of Documentation: The Sherborne Missal and the Role of Documents in English Medieval Art James Baker, University of Kent, to prepare his book Isaac Cruikshank and the business of satirical printing, 1783-1811 Tim Buck, University of East Anglia, to prepare his book Reconfiguring the Exotic and the Modern: British Art's Engagement with Empire in the 1920s Rebecca Searle, University of Sussex, to prepare her book Art, Propaganda and the Experience of Aerial Warfare in Britain during the Second World War JUNIOR FELLOWSHIPS Matthew Fisk, University of California, to conduct research in the United Kingdom for his doctoral thesis A Paradox of Elitism: Vision, Risk, Diplomacy in the European Career of Colonel John Trumbull (1756-1843) Arnika Schmidt, Technische Universität Dresden, to conduct research in the United Kingdom for her doctoral thesis Giovanni Costa (1826-1903) and Transnational Exchange in 19th century European Landscape Painting Rebecca Shields, Rutgers University, to conduct research in the United Kingdom for her doctoral thesis The Space Between: Politics and Urban Development in Seventeenth-Century London

RESEARCH SUPPORT GRANTS Katy Barrett for research in the United States on What was the Problem with Longitude? Science, Satire and Society in Augustan England Hugh Belsey for research in Australia and New Zealand for the Catalogue Raisonné of Portraits by Thomas Gainsborough Michael Bird for research in the United Kingdom on Lynn Chadwick: a British Sculptor on the International Scene Max Browne for research in the United Kingdom on The Art of Edna Clarke Hall (1879-1979) Antonio Brucculeri for research in the United Kingdom on The Ecole des Beaux-Arts and the Training of British Architects in London 1880-1940 Mungo Campbell for research in the United Kingdom on 'A rational taste of resemblance'; Allan Ramsay and the Portraiture of Learning Katelyn Crawford for research in the United Kingdom and Ireland on Itinerant Portraitists in the Late Eighteenth-Century British Atlantic World Miruna Cuzman for research in the United Kingdom and Ireland on Trench Modernism: William Orpen's Career as War Artist Petrina Dacres for research in the United Kingdom on Queen Victoria in the Caribbean: Public Sculpture and the Art of Empire

THE PAUL MELLON CENTRE

PUBLICATIONS

Sophia Dentzer for research in the United Kingdom on Decorative Vaulting in English Gothic Architecture Natasha Eaton for research in India on Laboratories for Belonging: Exception, Emergency and the Museum in South Asia Donato Esposito for research in the United States on The Art Collection of Sir Joshua Reynolds Manolo Guerci for research in the United Kingdom on Great Houses of the Strand: The Ruling Elite at Home in Tudor and Jacobean London Richard Hayes for research in the United Kingdom on Mapping the Aesthetes: London in the Aesthetic Movement Nicola Imrie for research in Germany and Austria on Mackintosh Architecture: Context Making and Meaning Jacek Jázwierski for research in the United Kingdom on Ways of Perceiving Pictures during the Grand Tour Ruth Kenny for research in the United Kingdom on The Craze for Pastel: Pastel-Painting in England c.1680-1800 Conor Lucey for research in the United Kingdom on English Agents of the Irish Adamesque Mirco Modolo for research in the United Kingdom on Collecting and Redrawing the Past: Bartoli’s Drawings in Eighteenth-Century British Collections Alla Myzelev for research in the United Kingdom on Creating National Pride One Stitch at a Time: Knitting in Painting and Visual Culture between the Wars Dorothy Nott for research in the United Kingdom on Changing Representations of British War Art from 1850 to 1920 Carla van de Puttelaar for research in the United Kingdom on David Scougal, a 17th-century Scottish Portrait Painter Mrinalini Rajagopalan for research in the United Kingdom on Building Histories: Preservation Politics and the Public in Colonial and Postcolonial Delhi Cathryn Spence for research in the United Kingdom on Trading in the Exotic: Thomas Robins the Elder (1716-70) James Taylor for research in Australia on The Relationship between William Westall’s Sketches, Drawings and Watercolours created on the Voyage of HMS Investigator 1801-1803 to his Admiralty Australian Oil Paintings T. Barton Thurber for research in the United Kingdom and Ireland on Rome and the Grand Tour in the Mid-Eighteenth Century Julia Ward for research in the United Kingdom on Jan Siberechts: A Flemish Painter of Innovative Estate Portraiture and Landscapes in late seventeenth-century England David Wilmore for research in the United Kingdom on James Winston and the Watercolours and Drawings of ‘The Theatric Tourist’

The English Prize: The Capture of the Westmorland, an Episode of the Grand Tour Maria Dolores Sanchez-Jauregu Alpanes, Scott Wilcox Laden with works of art acquired by young British travellers on the Grand Tour in Italy, the British merchant ship Westmorland sailed from the Italian port of Livorno before being captured by French naval vessels and escorted to Malaga in southern Spain. The artistic treasures on board were purchased by King Carlos III of Spain, and the majority were deposited in the collections of the Real Academia de Bellas Artes de San Fernando. There they resided, unknown, until recent research, using original inventories that survive in the Academia’s archives, identified the Westmorland’s rich cargo. ‘The English Prize’ reveals the gripping story of the ship’s capture and the disposition of its artistic contents, which included Raphael Mengs’ ‘Perseus and Andromeda’, Pompeo Batoni’s portraits of ‘Frances Bassett’ and ‘Lord Lewisham’, and watercolours by John Robert Cozens. This volume illuminates the cultural phenomenon of the Grand Tour and the young travellers who acquired the trove of books and art works on board the Westmorland but were never able to enjoy their purchases.

Maria Dolores Sanchez-Jauregui Alpanes is the lead scholar in the Westmorland research project. Scott Wilcox is chief curator of art collections at the Yale Center for British Art

May 2012, 400 pages, 305 x 241mm 350 colour illustrations ISBN: 9780300176056 £45.00

THE PAUL MELLON CENTRE

FELLOWSHIP AND GRANT AWARDS

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

Carscapes The Motor Car, Architecture, and Landscape in England Kathryn A. Morrison, John Minnis

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

When the motor car first came to England in the 1890s, it was a luxury item with little practical purpose – drivers couldn’t travel very far or very quickly without paved roads or traffic laws. Thus began a transformation that architecture, the affected has infrastructure, and even the natural environment of the country. ‘Carscapes’ relates the history of the car’s impact on the physical environment of England from its early beginnings to the modern motorway network, focusing especially on its architectural influence. The authors offer a detailed look at the litany of structures designed specifically to accommodate cars: garages, gas stations, car parks, factories, and showrooms.

Presenting a comprehensive study of these buildings, along with highways, bridges, and signage, ‘Carscapes’ reveals the many overlooked ways in which automobiles have shaped the modern English landscape.

Under the rule of Henry VII (r.

1485-1509) England became a powerful nation. The Tudor court sought to express its worldliness and political weight through major artistic commissions, employing Florentine sculptors and painters to create lavish new interiors, suitable for entertaining foreign dignitaries, for its royal palaces.

These were exemplified by Henry VIII’s palace of Nonsuch, so named because no other palace could match its magnificence. Italian sculpture, painting, and tapestries of the day reflected an interest in portraiture and dynastic monuments, epitomized in England by the royal tomb projects created by Baccio Bandinelli, Benedetto da Rovezzano, and Pietro Torrigiani.Generously illustrated throughout, this book traces the artistic links between Medicean Florence and Tudor England through essays by an international team of scholars.

Citizen Portrait: Portrait Painting and the Urban Elite of Tudor and Jacobean England and Wales Tarnya Cooper

Kathryn A. Morrison is chairman of Architectural of Society the Historians of Great Britain. John Minnis is an architectural historian and co-author of the Pevsner City Guide to Sheffield.

For much of early modern history, the opportunity to be immortalized in a portrait was explicitly tied to social class: only landed elites and royalty had the money and power to commission such an endeavour. But in the second half of the 16th century, access began to widen to the urban middle class, including merchants, lawyers, physicians, clergy, writers, and musicians. As more accessible portraiture proliferated in English cities and towns, the middle class gained social visibility - not just for themselves as individuals, but often for their entire class or industry. In ‘Citizen Portrait’, Tarnya Cooper examines the patronage and production of portraits in Tudor and Jacobean England, focusing on the motivations of those who chose to be painted and the impact of the resulting images. Highlighting the opposing, yet common, themes of Cinzia Maria Sicca is professor and piety and self-promotion, Cooper has director of the art history doctoral revealed a fresh area of interest for programme in the Department of Art scholars of early modern British art.

History at the Universita di Pisa, Italy. Louis Waldman in an associate Tarnya Cooper is chief curator at the professor of art history at The National Portrait Gallery, London.

University of Texas at Austin.

October, 400 pages, 286 x 241mm 225 colour + 75 b/w illustrations ISBN: 9780300187045 £40.00

April 2012, 330 pages, 254 x 178mm 120 illustrations ISBN: 9780300176087 £50.00

September, 240 pages,: 270 x 220mm 40 colour + 80 b/w illustrations ISBN: 9780300162790 £45.00

THE PAUL MELLON CENTRE

FELLOWSHIP AND GRANT AWARDS

The Last Sane Man: Michael Cardew, Modern Pots, Colonialism, and Counterculture Tanya Harrod

Designing Antiquity Owen Jones, Ancient Egypt and the Crystal Palace Stephanie Moser

Survey of London, Volume 48 Woolwich Andrew Saint, Peter Guillery

British studio potter Michael Cardew (1901-1983) was a man of paradox, a modernist who disliked modernity, a colonial servant who despised Empire, and an intellectual who worked with his hands. After graduating from Oxford in 1923, he made majestic slipware alongside legendary potter Bernard Leach. Wartime service in Ghana made Cardew fiercely critical of British overseas policies; he remained in West Africa intermittently until 1965, founding a local tradition of stoneware.

Beginning in the late 1960s, he travelled through Australia and North America, teaching pottery and demonstrating against racism and its consequences. By the time of his death, he had established himself as one of the finest 20th-century potters and as a voice of political dissent and counterculture. This is the first biography of his remarkable life. The book includes interviews with friends, students, and his two surviving sons, previously unpublished photographs of Cardew, and colour images of his work.

In the 19th century, designers became involved in the public presentation of the past, focusing specifically on the decoration of historical monuments. By exploring ornamental designs and the way they represented the cultural concerns of distant civilizations, and in addressing how colour may have originally been applied to exteriors and interiors, designers animated the past and incited a new passion for the ancient world. Crucial in this movement was the designer and architect Owen Jones (1809-1874), who from the 1830s until his death pioneered the study of ancient ornament and its central role in historical traditions of art. Particularly significant were the series of Fine Arts Courts that Jones designed in 1854 for the Crystal Palace’s relocation to Sydenham. ‘Designing Antiquity’ focuses on Jones’ Egyptian Court, which produced a fundamental shift in the way Egyptian art was understood in the second half of the 19th century.

Woolwich is a distinctive London district, a riverside settlement with pre-Roman origins which grew into a military-industrial centre of national importance. Massive investment fuelled a series of military establishments, a naval dockyard and the Royal Arsenal, bringing prosperity to the town and dominating its economy. At the same time, Woolwich developed a dynamic civic identity, reflected in its impressive municipal buildings and ambitious public- housing programme. This historic richness is not well-known. The new ‘Survey of London’ volume brings together everything of significance in Woolwich’s built history, and will prove invaluable to historians, planners, residents and the wider public.

Tanya Harrod is a design historian, author of the prizewining The Crafts in Britain in the 20th Century and the co-editor of the Journal of Modern Craft.

October , 380 pages, 235 x 159mm 30 colour + 90 b/w illustration ISBN: 9780300100167 £30.00

Stephanie Moser is professor of archaeology at the University of Southampton.

September , 320 pages, 254 x 191mm 80 colour + 50 b/w illustration ISBN: 9780300187076 £40.00

Andrew Saint is the General Editor of The Survey of London and the author of Richard Norman Shaw.

Peter Guillery is a senior investigator for English Heritage and the author of The Small House in Eighteenth-Century London: A Social and Architectural History.

October 2012, 460 pages, 286 x 223mm 150 colour + 250 b/w illustrations ISBN: 9780300187229 £75.00

ya l e center for british art

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

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. e x hib it ion s “While these visions did appear”: Shakespeare on Canvas

Through 29 July 2012 Organized by the Yale Center for British Art

Art in Focus Yale Student Guide Exhibition Gazes Returned: The Technical Examination of Early English Panel Painting

Through 29 July 2012 Organized by the Yale Center for British Art

The English Prize: The Capture of the Westmorland, An Episode of the Grand Tour

4 October 2012–13 January 2013 The 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 Lecture Wednesday, 3 October, 5:30 pm A conversation between Scott Wilcox, Chief Curator of Art Collections and Senior Curator of Prints & Drawings, Yale Center for British Art, María Dolores SánchezJáuregui, 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 Up

18 October– 30 December 2012 Organized by the Yale Center for British Art Opening Lecture Wednesday, 17 October, 5:30 pm Julius Bryant, Keeper of Word and Image, Victoria and Albert Museum

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