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biography |
<p>BA French (London), PhD Art History (Sheffield)</p><p>Linda Walsh wrote her PhD
thesis on Diderot’s Salons and the concept of‘sensibilité’.
Her current research interests lie in the area of eighteenth- and early nineteenth-century
French and European art, with particular emphasis on the relationship between painting,
sculpture and aesthetic ideas. She is currently researching and writing on theoretical
aspects of sculpture, with specific reference to eighteenth-century materialist philosophy
and Romantic Idealism. Her research also focuses on interdisciplinary study of the
concept of the sublime as it relates to visual representations of landscapes and animals.<br
/><br />Expressions of interest from potential research students in projects exploring
the relationship between European art and aesthetic ideas in the eighteenth and early
nineteenth centuries will be welcome.<br /><br />Linda has written on a wide range
of Open University courses, including study units and audio-visual material on reading
images (for the Access course,‘Images’); pictorial analysis, genre, Gombrich’s<em>Art
and Illusion</em>, art and politics in the work of Jacques-Louis David and Caspar-David
Friedrich (for level 1 interdisciplinary courses); Charles Le Brun, Watteau and formal
analysis (for a level 2 Art History course); Rousseau, the<em>Encyclopédie</em>(co-authored),
Diderot’s<em>Salons</em>, The French Academy, the Enlightenment and Romanticism
(co-authored), Constable, Turner, the sublime and the picturesque (co-authored), Goya
and Delacroix (for level 2 interdisciplinary courses).<br /><br />As a Staff Tutor
based in the Leeds Regional Office Linda supports Associate Lecturers and students
on an extensive range of arts courses taught in the Yorkshire Region. These include
courses in Art History, History, Religious Studies, History of Science, Technology
and Medicine and Interdisciplinary studies. She currently serves as academic reviewer
to Leeds College of Art and Design where a substantial amount of HE provision is validated
by the Open University.</p><h2>Selected Publications</h2><p><img alt="" src="/people/sites/www.open.ac.uk.people/files/images/l-walsh.jpg"
style="float:right; height:150px; margin:5px; width:115px" />‘Ausdrucksformen-
Die Suche nach einer expressiven Sprache in der französischen Genremalerei des
18 Jahrhunderts’, in Tobias Klein and Erik Porath (eds),<em>Figuren des Ausdrucks:
Formation einer Wissenskategorie zwischen 1700 und 1850</em>, (Wilhelm Fink, 2012),
125-146</p><p>‘Canova, Neo-classicism and the sculpted body’, in Emma
barker (ed),<em>Art and Visual Culture 1600-1850: Academy to Avant-Garde,</em>(Tate
Publishing, in association with The Open University, 2012), 219-259</p><p>‘The“hard
form” of sculpture: marble, matter and spirit in European sculpture from the
Enlightenment through Romanticism’,<em>Modern Intellectual History</em>, 5,3
(2008), 455-486</p><p>‘“Crushing Infamy”: The Revolutionary Sculpture
of Joseph Chinard’,<em>British Journal for Eighteenth-Century Studies</em>,
26:1 2003, 109-128</p><p><img alt="" src="/people/sites/www.open.ac.uk.people/files/images/lwalsh-canons.jpg"
style="float:right; height:150px; margin:5px; width:107px" />‘Charles Le Brun,“art
dictator of France”’, in G.Perry and C.Cunningham (eds),<em>Academies,
Museums and Canons of Art</em>, (Yale University Press in association with the Open
University, 1999), 86-120</p><p>‘Subjects, society, styles: changing evaluations
of Watteau and his art’, in E.Barker and K.Woods (eds),<em>The Changing Status
of the Artist,</em>(Yale University Press in association with the Open University,
1999), 220-248</p><p>‘The Expressive Face: Manifestations of Sensibility in
Eighteenth-Century French Art’,<em>Art History</em>, 19, 1996, 523-550</p><p>“‘Arms
to be kissed a thousand times’: Reservations about lust in Diderot’s art
criticism”, in G. Perry and M. Rossington (eds),<em>Femininity and Masculinity
in Eighteenth-Century Art and Culture</em>, (Manchester University Press, 1994), 162-183</p> |
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Description |
<p>BA French (London), PhD Art History (Sheffield)</p><p>Linda Walsh wrote her PhD
thesis on Diderot’s Salons and the concept of‘sensibilité’.
Her current research interests lie in the area of eighteenth- and early nineteenth-century
French and European art, with particular emphasis on the relationship between painting,
sculpture and aesthetic ideas. She is currently researching and writing on theoretical
aspects of sculpture, with specific reference to eighteenth-century materialist philosophy
and Romantic Idealism. Her research also focuses on interdisciplinary study of the
concept of the sublime as it relates to visual representations of landscapes and animals.<br
/><br />Expressions of interest from potential research students in projects exploring
the relationship between European art and aesthetic ideas in the eighteenth and early
nineteenth centuries will be welcome.<br /><br />Linda has written on a wide range
of Open University courses, including study units and audio-visual material on reading
images (for the Access course,‘Images’); pictorial analysis, genre, Gombrich’s<em>Art
and Illusion</em>, art and politics in the work of Jacques-Louis David and Caspar-David
Friedrich (for level 1 interdisciplinary courses); Charles Le Brun, Watteau and formal
analysis (for a level 2 Art History course); Rousseau, the<em>Encyclopédie</em>(co-authored),
Diderot’s<em>Salons</em>, The French Academy, the Enlightenment and Romanticism
(co-authored), Constable, Turner, the sublime and the picturesque (co-authored), Goya
and Delacroix (for level 2 interdisciplinary courses).<br /><br />As a Staff Tutor
based in the Leeds Regional Office Linda supports Associate Lecturers and students
on an extensive range of arts courses taught in the Yorkshire Region. These include
courses in Art History, History, Religious Studies, History of Science, Technology
and Medicine and Interdisciplinary studies. She currently serves as academic reviewer
to Leeds College of Art and Design where a substantial amount of HE provision is validated
by the Open University.</p><h2>Selected Publications</h2><p><img alt="" src="/people/sites/www.open.ac.uk.people/files/images/l-walsh.jpg"
style="float:right; height:150px; margin:5px; width:115px" />‘Ausdrucksformen-
Die Suche nach einer expressiven Sprache in der französischen Genremalerei des
18 Jahrhunderts’, in Tobias Klein and Erik Porath (eds),<em>Figuren des Ausdrucks:
Formation einer Wissenskategorie zwischen 1700 und 1850</em>, (Wilhelm Fink, 2012),
125-146</p><p>‘Canova, Neo-classicism and the sculpted body’, in Emma
barker (ed),<em>Art and Visual Culture 1600-1850: Academy to Avant-Garde,</em>(Tate
Publishing, in association with The Open University, 2012), 219-259</p><p>‘The“hard
form” of sculpture: marble, matter and spirit in European sculpture from the
Enlightenment through Romanticism’,<em>Modern Intellectual History</em>, 5,3
(2008), 455-486</p><p>‘“Crushing Infamy”: The Revolutionary Sculpture
of Joseph Chinard’,<em>British Journal for Eighteenth-Century Studies</em>,
26:1 2003, 109-128</p><p><img alt="" src="/people/sites/www.open.ac.uk.people/files/images/lwalsh-canons.jpg"
style="float:right; height:150px; margin:5px; width:107px" />‘Charles Le Brun,“art
dictator of France”’, in G.Perry and C.Cunningham (eds),<em>Academies,
Museums and Canons of Art</em>, (Yale University Press in association with the Open
University, 1999), 86-120</p><p>‘Subjects, society, styles: changing evaluations
of Watteau and his art’, in E.Barker and K.Woods (eds),<em>The Changing Status
of the Artist,</em>(Yale University Press in association with the Open University,
1999), 220-248</p><p>‘The Expressive Face: Manifestations of Sensibility in
Eighteenth-Century French Art’,<em>Art History</em>, 19, 1996, 523-550</p><p>“‘Arms
to be kissed a thousand times’: Reservations about lust in Diderot’s art
criticism”, in G. Perry and M. Rossington (eds),<em>Femininity and Masculinity
in Eighteenth-Century Art and Culture</em>, (Manchester University Press, 1994), 162-183</p> |
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