Past Events

Revisiting the Canon: Graphic Landscape

Conference, Lecture – Cora Gilroy-Ware, Timothy Wilcox, Timothy Wilcox, Gillian Forrester

  • 9 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 Cora Gilroy-Ware (Associate Professor, History of Art, University of Oxford)

12.10–12.30 Greg Smith (Independent Art Historian) , Engaging with the Voyage Pittoresque de la France: Thomas Girtin’s Picturesque Views in Paris and their appeal to the ‘most eminent in the Profession’.

12.30–12.50 Timothy Wilcox (Independent Scholar) , John Sell Cotman’s Architectural Antiquities of Normandy; A Catastrophic Miscalculation?

12.50–13.00 Comfort break

13.00–13.20 Gillian Forrester (Independent Art Historian, Curator and Writer) , A Glossary for the Anthropocene? Turner’s Liber Studiorum in the Era of Climate Change

13.20–14.00 Panel discussion and questions

About the speakers

  • Cora Gilroy-Ware headshot sitting on a bench

    Cora Gilroy-Ware’s research explores continuities between historic and contemporary, ancient and modern. Her doctoral project on the surprisingly under-researched classical nude in late-eighteenth and early-nineteenth century British art led to her first book, The Classical Body in Romantic Britain, and a broader interest in neglected chapters in the history of visual classicism. As a scholar of BIPOC heritage, she seeks to reconcile decolonial approaches with traditional art historical areas of concern. With support from the Henry Moore Foundation, she is currently at work on a second book project on adaptations of Greco-Roman art, particularly marble sculpture, among artists of African and indigenous American descent including Mary Edmonia Lewis, Augusta Savage, Selma Burke, Carrie Mae Weems and Kara Walker. She has curated exhibitions at Tate Britain and the Huntington, and written for the London Review of Books, Apollo, The White Review and other journals.

  • Headshot of Timothy Wilcox

    Timothy Wilcox is an independent scholar with a particular interest in landscape painting and in watercolour. He held curatorial positions at the British Museum, the Victoria and Albert Museum and was for more than 10 years Director of Hove Museum and Art Gallery. As an independent curator, he curated exhibitions for Tate, the Lowry and Dulwich Picture Gallery. A former Associate Lecturer at the universities of Brighton and Surrey, he has been a Course Leader for the Courtauld Institute Summer School and a Special Advisor for the British Council to museums and galleries in India.

    He is the author of books and articles on Constable, Francis Towne and Samuel Palmer and numerous publications on John Sell Cotman, including Cotman in Normandy, to accompany an exhibition at Dulwich Picture Gallery in 2012. Recently relocated to Oxfordshire, he is a regular contributor to the on-line programmes of the Ashmolean Museum.

  • Headshot of Timothy Wilcox

    Timothy Wilcox is an independent scholar and exhibition curator with special interests in British art, in landscape and in watercolour painting. He was a museum curator in the British Museum Department of Prints and Drawings following positions at the V&A, in Liverpool and Hove. As a freelance curator and lecturer since 1997, he has organised exhibitions on John Constable, John Sell Cotman, Laura Knight and Hilda Carline, at venues including Tate, the Lowry, the Wordsworth Trust and Dulwich Picture Gallery. He is the author of Constable and Salisbury: The Soul of Landscape (2011) and a contributing author of Constable’s Clouds (2000) and The Solitude of Mountains: Constable in the Lake District (2006). He contributes regularly to the outreach programmes of the Ashmolean Museum and lectures at museums and galleries in Britain, Europe and the USA.

  • Headshot of Gillian Forrester in sepia tones

    Gillian Forrester is an independent art historian, curator and writer. She was formerly Senior Curator of Prints and Drawings at the Yale Center for British Art and specialises in British print culture in a transnational context. She has curated numerous exhibitions and authored and edited several books, including (with Tim Barringer and Bárbaro Martínez-Ruiz) Art and Emancipation in Jamaica: Isaac Mendes Belisario and His Worlds (Yale University Press, 2007), which won the College Art Association's 2009 Alfred H. Barr Jr. Award for an especially distinguished catalogue in the history of art.

    She has a particular interest in the prints of J.M.W. Turner and John Constable. She was the curator of exhibitions on Turner’s Liber Studiorum at the Nottingham University Art Gallery (1986) and Tate Britain (1996), for which she wrote the catalogue now regarded as the definitive text on the topic. She curated exhibitions on The Romantic Landscape Print and The Romantic Print in the Age of Revolutions at the Yale Center for British Art (2002, 2003), and The Romantic Print in Britain at the Carnegie Museum, Pittsburgh (2004). She is currently working on an essay for the Yale Center for British Art on Turner’s prints, with particular reference to W.G. Rawlinson’s collection that formed the basis of YCBA’s holdings, and two book projects, one on the Romantic print and the other (in collaboration with Professor Morna O’Neill) on John Constable’s English Landscape Scenery.