Past Events

A Wider View: From Collaboration to Empire: Graphic Landscape

Conference, Lecture – Mark Hallett, Felicity Myrone, Sarah Moulden, Eleanore Neumann, Alisa Bunbury, Douglas Fordham

  • 11 November 2021
  • 2:00 – 4:00 pm
  • This event is part of the online conference programme 'Graphic Landscape: The Landscape Print Series in Britain, c.1775–1850'
  • Online

14.00–14.10 Introduction by Mark Hallett (Director, Paul Mellon Centre) and Felicity Myrone (Lead Curator, Western Prints and Drawings, British Library)

14.10–14.25 Sarah Moulden (Curator of 19th-Century Collections, National Portrait Gallery) , Creative Collaboration: Cotman’s Norfolk Etchings

14.25–14.40 Eleanore Neumann (PhD Candidate, University of Virginia) , Translating Topography: Women and the Publication of Landscape Illustrations of the Bible (1836)

14.40–14.55 Questions

14.55–15.00 Comfort break

15.00–15.15 Alisa Bunbury (Grimwade Collection Curator, Ian Potter Museum of Art, University of Melbourne) , Taken From Nature: Printed Views of Colonial Australia

15.15–15.30 Douglas Fordham (Professor of Art History, University of Virginia ), Travel Prints or Illustrated Books?

15.30–15.45 Questions

15.45–16.00 Panel discussion

In partnership with:

About the speakers

  • paulmellon-day021091-1-1

    Mark Hallett is Märit Rausing Director at the Courtauld Institute of Art. Between 2012 and 2023 he was Director of the Paul Mellon Centre for Studies in British Art. Prior to taking up that position, Mark worked in the History of Art department at the University of York. Appointed as lecturer in 1994, he became a professor in 2006 and was Head of Department between 2007 and 2012.

    Mark’s scholarly research has focused on British art from the seventeenth century onwards. Books he has written and edited include The Spectacle of Difference: Graphic Satire in the Age of Hogarth (Yale University Press, 1999); Hogarth (Phaidon Press, 2000); Eighteenth Century York: Culture, Space and Society (edited with Jane Rendall, Borthwick Institute, 2003); Faces in a Library: Sir Joshua Reynolds's 'Streatham Worthies' (The Watson Gordon Lecture 2011, National Galleries of Scotland, 2012); Living with the Royal Academy: Artistic ideals and Experiences in England, 1769–1848 (edited with Sarah Monks and John Barrell Ashgate, 2013); Reynolds: Portraiture in Action (Yale University Press, 2014); and Court, Country, City: British Art and Architecture, 1660–1735 (edited with Nigel Llewellyn and Martin Myrone, Yale University Press, 2016). He also co-edited the major online publication, The Royal Academy Summer Exhibition: A Chronicle, 1769–2018 (Paul Mellon Centre, 2018).

    Mark has also been involved in curating numerous exhibitions. He co-curated the 2007 Tate Britain exhibition Hogarth and co-authored the accompanying catalogue with Christine Riding; he co-curated the 2011 York Art Gallery exhibition William Etty: Art and Controversy and co-edited the accompanying catalogue with Sarah Burnage and Laura Turner; he co-curated the 2015 Wallace Collection exhibition Joshua Reynolds: Experiments in Paint and co-edited the accompanying catalogue with Lucy Davis. With his PMC colleague Sarah Victoria Turner, he curated the 2018 Royal Academy exhibition, The Great Spectacle: 250 Years of the Summer Exhibition, and co-authored the accompanying catalogue. He curated George Shaw: A Corner of a Foreign Field, which opened at the Yale Center for British Art in October 2018, before travelling to the Holburne Museum, Bath, in February 2019. With Zuzana Flaskova and Rosie Ram, he co-curated the 2019-20 Tate Britain Spotlight Display Vital Fragments: Nigel Henderson and the Art of Collage, for which he also co-wrote a series of short films on Henderson’s collage-work Screen.

    Mark has been the recipient of a Leverhulme Research Fellowship and a Paul Mellon Centre Senior Fellowship. He was a Visiting Scholar at Pembroke College, Cambridge (2013–14) and a Visiting Professor at the Courtauld Institute of Art (2014–16). He gave the British Academy’s ‘Aspects of Art’ lecture for 2019, titled ‘The Newspaper Man: Michael Andrews and the Art of Painted Collage’.

  • Headshot of Felicity Myrone

    Felicity Myrone is Lead Curator of Western Prints and Drawings at the British Library. She joined the Library as Curator of Topography and led a project cataloguing and digitising George III’s maps and views, the King’s Topographical Collection and a related research project, Transforming Topography. One outcome of the latter is the British Library webspace, Picturing Places. She was awarded a 2019–20 Paul Mellon Centre Mid-career Fellowship for Art in the Library, investigating how the fused and intertwined institutional histories of the British Museum, Natural History Museum and British Library have shaped attitudes to prints and drawings. Her current project is writing a book with the support of a 2021 Getty Foundation Paper Project grant. This will be the first handbook/guide to the British Library’s prints and drawings in Printed Books, Manuscripts, Music and Maps.

  • Sarah Molden headshot in front of framed paintings

    Sarah Moulden is Curator of 19th-Century Collections at the National Portrait Gallery. She completed her PhD at UEA in 2016 on the art and career of John Sell Cotman, focusing on how he attempted to construct a career in a fiercely competitive and congested art world. More broadly, it explored how we might now rethink the relationship between art and lived experience, and scrutinised the monographic form. The project involved working with Norwich Castle Museum and Art Gallery where she curated the exhibition Almost too daring for an individual: John Sell Cotman's One-man Show (2015–16). Formerly, Sarah was a curator at English Heritage, Dulwich Picture Gallery and again at the NPG.

  • Eleanore Neumann headshot

    Eleanore Neumann is a doctoral candidate in art and architectural history at the University of Virginia. Her research focuses on the imbrication of landscape, gender and empire in British art and visual culture of the late eighteenth and early nineteenth centuries. In her dissertation, she examines the visual and verbal landscapes produced by the British artist and author Maria Graham (1785–1842) as she travelled globally in the early nineteenth century. Neumann trained as a curatorial fellow in the Department of Prints and Drawings at the Philadelphia Museum of Art where she curated the exhibition Breaking Ground: Printmaking in the U.S., 19401960. She is the recipient of a Junior Fellowship from the Paul Mellon Centre for Studies in British Art, a Huntington Library Travel Grant and an RBS-UVA Fellowship at the Rare Book School, among others. Presently, she is collaborating with the Kluge-Ruhe Aboriginal Art Collection and Buku-Larrnggay Mulka Center on a digital StoryMap for the international exhibition Madayin: Eight Decades of Aboriginal Australian Bark Painting from Yirrkala.

  • Headshot of Alisa Bunbury

    Alisa Bunbury is the Grimwade Collection Curator at the Ian Potter Museum of Art, The University of Melbourne. Previously she was Curator of Prints and Drawings at the National Gallery of Victoria, Melbourne (20022017) and at the Art Gallery of South Australia, Adelaide (19992002). She has curated numerous exhibitions, including as lead curator of Colony: Australia 1770–1861 (National Gallery of Victoria, 2018) and has written widely, most recently as editor of, and principal contributor to, the major publication Pride of Place: Exploring the Grimwade Collection (The Miegunyah Press, 2020). Earlier this year she completed a National Library of Australia Curatorial Fellowship researching the early art of Norfolk Island which was settled six weeks after Sydney to become Britain’s second penal settlement in the Pacific.

  • Douglas Fordham black & white headshot in front of a bookcase

    Douglas Fordham is a Professor at the University of Virginia. He is interested in the relationship between art, media and the British Empire, including his most recent publication, Aquatint Worlds: Travel, Print and Empire, 1770–1820 (PMC, 2019). As a PMC Senior Fellow, he is working on a project titled, ‘Aboriginal Printmaking and the Bureaucratic State’.