- 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'
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’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.
Greg Smith is an independent art historian who has published extensively on the history of British watercolours, landscape art and artists working in Italy. He has also worked as a curator at the Whitworth Art Gallery, Manchester, the Design Museum, London and the Barber Institute of Fine Art, Birmingham and has organised numerous exhibitions, most notably on the work of Walter Crane (Whitworth Art Gallery), Thomas Girtin (Tate Britain), Thomas Jones (National Gallery of Wales) and Thomas Fearnley (Barber Institute of Fine Art). Greg is currently Senior Research Fellow at the Paul Mellon Centre for Studies in British Art and in the final stages of preparing Thomas Girtin (1775–1802): An Online Catalogue, Archive, and Introduction to the Artist for its launch in 2022.
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.
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 co-edited 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.
Forrester 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 a book project on the Romantic landscape print. More imminent publications include an essay for the Metropolitan Museum of Art’s exhibition catalogue, Modern Times: British Prints, 1913–1939 (Yale University Press, 2021) and an essay on Christiane Baumgartner’s recent work (Cristea Roberts Gallery, 2021).
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