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research overview |
<p>Her principal research interests are eighteenth and early nineteenth century French
art, with special reference to genre painting; sentimentalism as a cultural and historical
category. She is currently working on the single figure paintings of Jean-Baptiste
Greuze and on sentimentalism in late eighteenth-century painting, with reference to
issues of cultural identity.</p><p>She has given papers at various British universities;
the Association of Art Historians annual conference; the Wallace Collection, London;
the College Art Association conference (USA); the Hood Museum of Art, Dartmouth college,
New Hampshire; the American Society for Eighteenth-Century Studies annual conference;
the Centre for Advanced Study in the Visual Arts, National Gallery of Art, Washington;
Johns Hopkins University, Baltimore; the International Society for Eighteenth-Century
Studies annual conference, the Getty Center, Los Angeles, the Nationalmuseum, Stockholm,
Waddesdon Manor, Bucks, and Tate Britain.</p><p>She would be willing to supervise
research students on topics in art and visual culture between the mid seventeenth
and mid nineteenth centuries.</p><h3>Selected Publications</h3><h4>Books</h4><p>(as
editor),<em>Art and Visual Culture 1600-1850: Academy to Avant-Garde</em>, Tate Publishing,
2012.</p><p><em>Greuze and the Painting of Sentiment</em>, Cambridge University Press,
2005<br /><a href="http://www.open.ac.uk/Arts/arthistory/greuze-eb.shtml"><u>Find
out more about this book</u></a></p><p><em>The Changing Status of the Artist</em>(ed.
with Nick Webb and Kim Woods), Yale University Press in association with The Open
University, 1999</p><p><em>Contemporary Cultures of Display</em>(ed.), Yale University
Press in association with The Open University, 1999</p><h4>Articles</h4><p>‘Georgiana
at Althorp: Spencer Family Portraits 1755-1785’, in<em>Placing Faces: The Portrait
and the Country House 1650-1850</em>, ed. Gill Perry, Kate Retford, Jordan Vibert
and Hannah Lyons, Manchester University Press, 2013.</p><p>‘Reading the Greuze
Girl: The Daughter’s Seduction’,<em>Representations</em>, no. 117, Winter
2012, 86-119.</p><p>‘From Charity to<em>Bienfaisance</em>: Picturing Good Deeds
in Late Eighteenth-Century France’,<em>Journal for Eighteenth-Century Studies</em>,
vol. 33, no. 3, September 2010, 285-311.</p><p>‘Imaging Childhood in Eighteenth-Century
France: Greuze’s Little Girl with a Dog’,<em>Art Bulletin</em>, vol
91, n°. 4, December 2009, 426-45.</p><p>‘Rehabilitating the Rococo’
,<em>Oxford Art Journal</em>, vol. 32, no. 2 (June 2009), pp. 306-13.</p><p>‘Mme
Geoffrin, Painting and Galanterie: Carle Van Loo’s<em>Conversation espagnole</em>and<em>Lecture
espagnole</em>’,<em>Eighteenth-Century Studies</em>, 40:4, 2007, 587-614</p><p>‘Putting
the Viewer in the Frame: Greuze as Sentimentalist’, in Philip Conisbee (ed.),<em>French
Genre Painting in the Eighteenth-Century</em>, Studies in the History of Art, vol.
72, (Washington: National Gallery of Art, 2007), 105-27</p><p>‘Women, Art and
Culture in Eighteenth-Century France’ (review essay),<em>Eighteenth-Century
Studies</em>, 40:1, 2006, 144-8</p><p>‘Painting History/History Painting’
(review essay),<em>Art History</em>, 22:5, 1999, 760-66</p><p>‘Painting and
Reform in Eighteenth-Century France: Greuze’s<em>L’Accordée de
village</em>’,<em>Oxford Art Journal</em>, 20:2, 1997, 42-52</p> |