Past Events

The Educated Eye? Connoisseurship Now

Conference – Stephen Deuchar, Bendor Grosvenor, Hugo Chapman, Spike Bucklow, Elizabeth Prettejohn, Martin Myrone

  • 2 May 2014
  • 9:30 – 5:00 pm
  • Public Study Room, Paul Mellon Centre
Woman in dress and hat made of framed artworks

unknown artist, The Connoisseur, 1830, Lithograph and watercolor on medium, beige, smooth wove paper, B2000.14.2

Digital image courtesy of Yale Center for British Art, Gift of Max and Barbara Will

This one-day conference will address the issue of connoisseurship in relation to historic, modern and contemporary British art studies. Speakers from different spheres - art dealers, museum curators, conservators, arts journalists, and academics - will give personal 'position papers' based on their own professional perspectives and experiences of the role and relevance of connoisseurship in today's art world.  Issues to be explored include the question of the 'eye'; the value of technical knowledge and the role of conservation; the role of connoisseurship in the marketplace, including questions of attribution and market value; connoisseurship and collecting; connoisseurship and art theory; connoisseurship and art-historical scholarship; and connoisseurship's relevance to contemporary art.

This event was recorded, and is available to view at the link below.

About the speakers

  • Head and shoulders photo of Stephen Deuchar
  • Head and shoulders photo of Bendor Grosvenor
  • Head and shoulders photo of Hugo Chapman
  • Head and shoulders photo of Spike Bucklow
  • Liz Prettejohn

    Liz Pretejohn is a Professor of History of Art at the University of York. She has worked as Curator of Paintings and Sculpture at Birmingham Museums & Art Gallery and held chairs at the Universities of Plymouth and Bristol.

    Prettejohn is an active guest curator and has co-curated exhibitions on Lawrence Alma-Tadema, Dante Gabriel Rossetti, and John William Waterhouse. In 2011 she gave the Paul Mellon Lectures at the National Gallery, London, on ‘The National Gallery and the English Renaissance of Art’.

  • Head shot of man

    As Lead Curator, British Art to 1800, Martin Myrone works with the team of Curators and Assistant Curators responsible for the development of and research into Tate’s holdings of artworks from the sixteenth to the early nineteenth century. He has delivered a range of exhibition and display projects at Tate Britain, including Gothic Nightmares: Fuseli, Blake and the Romantic Imagination (2006), William Blake’s 1809 Exhibition (2009) John Martin: Apocalypse (2011–12) and British Folk Art (2014). He was founding co-convenor of the Tate Research Centre: British Romantic Art (2010–13) and has led and contributed to a number of funded research projects.

    Martin Myrone’s research has centred on British art of the ‘long’ eighteenth century (c.1650–1850). He has a special interest in the work of Henry Fuseli, William Blake and history painting c.1750–1830, with a particular focus on questions of gender and identity and on the emerging exhibition cultures and art worlds of the period. He has also published on the historiography of ‘folk art’ in Britain and in 2010 ran an AHRC Research Network on ‘Folk Art and the Art Museum’. From 2009 to 2012 he was a co-investigator in an project with the University of York, Court, Country, City: British Art 1660–1735, funded by the Arts and Humanities Research Council (AHRC).