- 4 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 Richard Johns (Senior Lecturer in History of Art at the University of York)
12.10–12.30 John Bonehill (Lecturer, History of Art, University of Glasgow), Picturing Property: The Estate Landscape and the Late Eighteenth-century Print Market
12.30–12.50 Kate Retford (Professor of Art History, Birkbeck, University of London), Views of the Lakes at the Vyne
12.50–13.00 Comfort break
13.00–13.20 James Finch (Assistant Curator, 19th Century British Art, Tate Britain), Amelia Long’s Views from Bromley Hill
13.20–14.00 Panel discussion and questions
About the speakers
Richard Johns is Senior Lecturer in History of Art at the University of York where his research and teaching encompasses various aspects of British art. Landscape-related publications include Framing Robert Aggas: The Painter-Stainers’ Company and the English School of Painters (2008), Turner and the Sea with Christine Riding (2013) and From the Nore: Turner at the Mouth of the Thames (2016). In 2019 he co-curated the exhibition Ruskin, Turner & the Storm Cloud with Suzanne Fagence Cooper.
John Bonehill teaches art history at the University of Glasgow. He has published extensively on various aspects of eighteenth-century art and culture, including Old Ways New Roads: Travels in Scotland 1720–1832 (with Anne Dulau Beveridge and Nigel Leask).
Kate Retford is Professor of Art History at Birkbeck, University of London. She has published widely on eighteenth-century British art, particularly on portraiture and the country house art collection. Her work includes The Art of Domestic Life: Family Portraiture in Eighteenth-century England (Yale University Press, 2006); Placing Faces: The Portrait and the English Country House in the Long Eighteenth Century, co-edited with Gill Perry et al. (Manchester University Press, 2013); and The Georgian London Town House: Building, Collecting and Display, co-edited with Susanna Avery-Quash (Bloomsbury Academic, 2019). Her recent book on the eighteenth-century British conversation piece, The Conversation Piece: Making Modern Art in Eighteenth-century Britain, was published by Yale for the Paul Mellon Centre for Studies in British Art in 2017, winning an Historians of British Art award.
She is currently developing a project looking at the presentation of the country house as family home and will be writing a book about print rooms in eighteenth-century country houses, during a Leverhulme Research Fellowship in 2021–22.
James Finch is Assistant Curator, 19th Century British Art at Tate Britain, where he has worked on the exhibitions Van Gogh and Britain, William Blake and Turner’s Modern World. He was previously Curatorial Assistant at the Royal Academy of Arts and wrote his PhD thesis on ‘The Art Criticism of David Sylvester’ (AHRC-funded Collaborative Doctoral Partnership between Tate and the University of Kent). He has also published essays on artists including Lucian Freud, Barnett Newman and Alberto Giacometti.
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