Past Events

Print, Politics and Industrialisation : Graphic Landscape

Conference, Lecture – Mark Hallett, Felicity Myrone, Amy Concannon, Lizzie Jacklin, Morna O'Neill

  • 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
  • Online

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

In partnership with:


About the speakers

  • black-and-white headshot of Mark Hallett.

    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.

  • 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

  • Headshot of Amy Concannon

    Amy Concannon is Manton Senior Curator, Historic British Art at Tate, where she oversees holdings including Constable, Blake and Turner and has curated a range of exhibitions including Turner’s Modern World (2020), William Blake (2019) and Late Turner (2014). Her PhD thesis (2018) used Constable as a starting point to explore the visual culture of the urban landscape in the early 1800s, focusing on Salisbury, Bristol, Brighton and Lambeth. Before joining Tate in 2012 she worked at Dulwich Picture Gallery and the Wordsworth Trust, Grasmere, where she is now a Trustee.

  • Headshot of Lizzie Jacklin

    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 headshot in front of a grey background

    Morna O'Neill is Professor of Art History in the Department of Art at Wake Forest University. She is the author of Walter Crane: The Arts and Crafts, Painting, and Politics (Yale University Press, 2011) and Hugh Lane: The Art Market and the Art Museum, 1893–1915 (Yale University Press, 2018). Her current research addresses the conjunction of artistic and industrial materials and methods in the decades before the Great Exhibition of 1851. This proposed talk draws upon research for this project, as she positions Constable, Lucas and their fraught collaboration on English Landscape in relationship to the use of steel plates and contemporary debates about the industrialisation of printmaking.