- 2 November 2021
- 12:00 – 2:00 pm
- This event is part of the online conference programme 'Graphic Landscape: The Landscape Print Series in Britain, c.1775–1850
12.00–12.10 Introduction by Mark Hallett (Director, Paul Mellon Centre) and Felicity Myrone (Lead Curator, Western Prints and Drawings, British Library)
12.10–12.30 Amy Concannon (Senior Curator, Historic British Art, Tate)
‘A captur’d city blazed’: Printmaking and the Bristol Riots of 1831
12.30–12.50 Lizzie Jacklin (Keeper of Art, Tyne & Wear Archives & Museums )
Mining Landscapes: Thomas Hair’s Views of the Collieries
12.50–13.00 Comfort break
13.00–13.20 Morna O’Neill (Associate Professor of Art History, Art Department, Wake Forest University)
John Constable, David Lucas and Steel in English Landscape
13.20–14.00 Panel discussion and questions
About the speakers
Mark Hallett is Director of the Paul Mellon Centre for Studies in British Art. He is currently carrying out research for a forthcoming exhibition devoted to Constable and Turner, and leads the Centre’s Generation Landscape research project, of which this programme of webinars is a part.
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.
Amy Concannon is Senior Curator of Historic British Art at Tate where she has worked since 2012 and co-curated exhibitions include Turner’s Modern World (2020–21) and William Blake: The Artist (2019). In 2018 she completed her PhD, entitled ‘Urban Landscape in the Age of Reform: Salisbury, Bristol, Brighton, Lambeth, c.1820–1850’ (co-supervised between the University of Nottingham and Tate). Before Tate, Amy worked at Dulwich Picture Gallery and the Wordsworth Trust where she catalogued the print series of Lake District topography.
Lizzie Jacklin is Keeper of Art at Tyne & Wear Archives & Museums where she works across the Hatton and Laing galleries. Her current exhibition at the Hatton explores the screen-printing method in relation to the gallery’s historic associations with Pop Art. She has previously held curatorial roles at Tate Britain where she contributed to the research publication J.M.W. Turner: Sketchbooks, Drawings and Watercolours, at the V&A, the Courtauld Gallery and the Hunterian, and is particularly interested in works on paper. Her book highlighting Tate’s extensive print collection is to be published in autumn 2021.
Morna O'Neill is Associate Professor of Art History in the Department of Art at Wake Forest University. Prior to her arrival at Wake Forest, she taught in the History of Art Department at Vanderbilt University and served as a postdoctoral research associate in the Department of Research at the Yale Center for British Art. Her teaching and research address the conjunction of art, design and politics in Britain from the nineteenth century. She is the author of Walter Crane: The Arts and Crafts, Painting, and Politics (Yale University Press, 2011), which won the Historians of British Art Book Prize for Best Book before 1900, and Hugh Lane: The Art Market and the Art Museum, 1893–1915, published in 2018 by Yale. She is the co-editor, with Michael Hatt (University of Warwick), of The Edwardian Sense: Art, Design, and Performance in Britain, 1901–1910 (Yale University Press, 2010) and the editor of Vesna Pavlović’s Lost Art: Photography, Display, and the Archive (Hanes Art Gallery, 2017) which won the SECAC award in 2018 for the best presentation of contemporary materials. She is co-founder and co-editor (with Anne Nellis Richter and Melinda McCurdy) of ‘Home Subjects,’ a digital humanities working group dedicated to the display of art in the private interior in Britain.
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