2008-09

 

  • Hendrick Goltzius’s Virtuoso Engravings of the 1590s and Karel van Mander’s ‘Schilder-Boeck’ of 1604: A New Notion of Style
  • Raimondi’s Dream: The Oneiric Repose of the Sexualised Female in the Dream of Raphael
  • Stefano della Bella’s Hand-Screen with Rebuses: Exploring the Boundaries between Pictorial and Textual Expression in Seventeenth-Century Printmaking
  • Printing the Ottoman Empire: Geography and Pieter Coecke van Aelst’s ‘Ces Moeurs et Fachons de Faire de Turcz’
  • ‘Fixed as Fate?’: The Statue of Catherine Macaulay as ‘History’ (1777)
  • The Portraits of Samuel Johnson by Joshua Reynolds
  • The Imperialist’s New Clothes: Reading Cultural Cross-Dressing and the Development of Colonial Identity in British India 1740-1830
  • Inspired: Art and History in the Fashion Designs of Yves Saint Laurent
  • Orange and Black: Fashion and Politics in the Dutch Republic 1780-1795
  • Debris, Repetition and Anti-Fashion: Ideas of Dress in Contemporary Photography since 1990
  • Art and Women’s Dress in England: The Classical Influence c. 1789-1914
  • ‘The Shackles of Conventionality’: Dress of Female Alpinists c. 1838-1914
  • Disentangling Porcelain: Textile Motifs as Decoration on Sèvres Porcelain
  • From the Four Corners of the World to the Four Corners of a Chessboard: How the Colonial Trade Influenced the Image of the Black in Eighteenth-Century French Decorative Arts
  • Defining Bijoux: From Natural Curiosity to Corporeal Exoticism in Eighteenth-Century French Jewellery
  • Lazare Duvaux’s ‘Livre Journal’: An Analysis of Eighteenth-Century French Porcelain Consumption
  • Putting China in its Place: Costume and Imperial Ideology in William Alexander’s ‘The Costume of China’
  • At the Shrine of the Pretty Brown Girl: John Webber’s Poedua, Daughter of Oree
  • Displays of Ambition: Benjamin West’s ‘Lord Clive Receiving the Grant of the Diwani’
  • John Carr: Designs for a Modern Countryside
  • Poetic Architecture in the Seventeenth Century: Country Houses in Print
  • The Gothic Viewing Platform in the Eighteenth-Century English Landscape Garden
  • The Unlabelled Space: Transition and the Subject in Wren’s Architecture
  • ‘A College for the Mission?’ Codrington College Barbados (1710-1745)
  • Memorialisation, Representation, Realisation: James Gibbs’ Radcliffe Camera (1712-1752)
  • Looking at the Quack in Seventeenth-Century Netherlandish Art
  • Pregnancy in Vermeer’s Art: Studies on the Ambivalence between the ‘Masculine’ and the ‘Feminine’ Beholder
  • Undefining ‘Merry Companies’: Broadening the Interpretation of Seventeenth-Century Dutch Merry Company Scenes
  • Boundaries, Confinement and Silence: Ten Versions of Frans Hals’s ‘Malle Babbe’
  • Case Notes: Comprehending Knowledge in Cornelius Johnson’s ‘Portrait of a Physician (1637)

2007-2008:

  • Making a Mark: George Romney’s Liverpool Cartoons as Cultural Performance
  • Fantastic Feathers: An Emblem of Excess in Graphic Satire of 1776
  • Giles Hussey’s ‘Bacchus’ and ‘Ariadne’ at Syon House
  • ‘Socially Conscious and Consciously Outrageous’: The Visual Contribution of Benetton’s Advertising Campaigns and British Fashion Spreads to a Socio-Political Discourse in the 1990s
  • Turquerie, C’est la Mode: Eighteenth-century France and its Fascination with the Feminine Exotic
  • The Influence of Anglomania on French Fashion during the 1780s
  • ‘Glamorous Fictions’: Cecil Beaton’s Fashion Photography for British Vogue during the 1930s and 1940s              
  • Fashioning the Fitzgeralds: Creating the Golden Couple of the 1920s in Literature and Life          
  • The Fashioning of Advertisements: The Content, Language and Fashion of Garment and Cosmetic Advertisements in the ‘Tatler ‘and the ‘Spectator’ and their Place within the Developing Eighteenth-Century Consumer Society and Fashion Industry
  • A Soft Imperial Snore
  • Bringing Scotland into the Fold: The Highland Military Figure and the Evolution of British Imperial Identity
  • St George’s Hospital at Hyde Park Corner: Architecture and Self-Representation            
  • Robert Adam and Sir William Chambers: Uncovering Similarities between Rival Architects
  • Somerset House and the Navy
  • The Governor-Architect and the Planning of the London Foundling Hospital      
  • The West India Docks: Sublimity, Utility, and Security   
  • George Dance’s Guildhall Façade 1788-89   
  • Spanish versus Creole: Locating the Hybrid Space in Luis de Mena’s  Casta Painting
  • Anthony van Dyck’s ‘Portrait of Venetia Stanley, Lady Digby on her Deathbed’: An Example of Seventeenth-Century Posthumous Portraiture                              
  • Velázquez: Blood, Paint and Vision in Seville                     
  • ‘Secundum Naturam Vivere’: Rubens and the Stoic Landscape

2006-2007:

  • Narrating the Nation: Ruptures and Continuities in Benjamin West’s Conception of the Seventeenth Century                                  
  • Turning Turk: The Negotiable Self in Early Eighteenth-century British Art
  • The Return of the Natives: The East India Officer Monuments of Westminster Abbey and St Paul’s Cathedral 1757-1813
  • Discuss Anna Pavlova’s Self-fashioning in her Art and Life as a Dancer   
  • The Development of British Royal Navy Sailor Uniform and its Influence on Civilian Fashion in Victorian England, 1846-1901               
  • ‘A Dazzling Living Picture’: A Study of the Influences on the Costumes at the Devonshire House  Ball
  • John Singer Sargent (1856-1925) and Dress: The Later Female Portraits
  • The Influence of Anglomania on French Fashion during the 1780s
  • Posing in the Social Mirror: A Study of Dress and Identity in the Libertine Context of George Etherege’s ‘The Man of Mode’
  • The Self-fashioning of Lady Ottoline Morrell from 1902 to 1938
  • Women Unravelled: Issues of Identity in Portraits of Women with Handwork in Eighteenth-Century France
  • From Medici to Bourbon: The Formulation of Taste and the Evolution of a Vanderbilt Style
  • Light in the Rococo Interior
  • Edward Wortley  Montagu ’Son of the Sultan’, a Lesson in Transgression: Representations of an Eighteenth-century Eccentric                             
  • Les Ficelles des Mélodrames: Explaining Particularities and Peculiarities in the Tapestry Collection of the Comte de Toulouse
  • William Henry Playfair and the Ideal of the Picturesque
  • The Eighteenth-Century Assembly Rooms of Bath: Plans for Politeness
  • George IV: Britain’s Bourbon France and the Interior Decoration at Carlton House and Windsor Castle  
  • Brick Houses of the 1630s in the South of England: Glorifying the Bricklayer’s Craft
  • Simon Vouet, Between ‘Tableau’ and ‘Ornement’
  • Arcadia as a Site for Creativity: The Case of Claude’s Little Draughtsmen
  • The Ambivalent Gaze: Authorial ‘Self-Projection’  in the Paintings of Michael Sweerts
  • Opening the Doors of the Temple of Janus: The Generative ‘Medusa’ and Rubens’ Red-Blooded Art
  • Inverted and Reversed: Eye, Image and Printmaking in Rembrandt’s Landscapes and Portraits
  • The Reworked Drawings of Peter Paul Rubens

2005-2006:

  • Representations of Colonial Companions in Eighteenth-century Anglo-Indian Portraiture
  • Issues of Identity in Sir Joshua Reynolds’ Portrait of George, Prince of Wales with a Black Servant
  • The Rural other: Representations of Gypsies in British Art c.1740-1795
  • Haunted Bodies: George Stubbs’ Comparative Anatomy (c.1795-1806) and the Search for a ‘Universal Language’
  • These Guiltless Spoliations: Curiosity, Commerce and Contradiction in some Representations of China by William Alexander and William Daniel
  • Impressions of Fashion: The Production and Reception of Printed Portraits of Queen Elizabeth I, 1558-1603
  • Identity Crisis?: Female ‘Cross-Dressing’ in the 1920s
  • Fashion Travels: Exoticism in Fashion 1960 to Now
  •  Man Power: Displays of Masculinity in Fashion Photography of the 1980s and 1990s
  •  ‘Impertinent Vexations’: An Analysis of the English Seventeenth-Century Shoe Rose
  • Clothing the Screen: The Representation of Seventeenth-Century Dress in British Film
  • The ‘Portrait en Chasseur’ in Eighteenth-Century France: The Anatomy of a Genre
  • China at the Edge of the World: Making Space for Chinoiserie in the Interiors of Robert Adam
  • Acting the Part: ‘Role Portraiture’ and Theatrical Identity in Eighteenth-Century France
  • The Adelphi Terrace: Masterpiece or Monumental Puff? The Reputation of a Lost Building on the Thames

2003-04

 

  • A Charitable View? The Seven Acts of Mercy by Michael Sweerts Reconsidered
  • 'A Picture of the City of Haarlem’: New Perspectives on Haarlem Landscape in the Early 17th Century
  • Adieux a la Guerre: Class, Culture and the Late Eighteenth-Century Ballroom
  • An Anti-Machiavellian Reading of Pietro da Cortona’s Frescoed Decoration of the Gran Salone of the Palazzo Barberini in Rome
  • Annibale Carracci and the Erotic Male Nudes of the 1580s: An Expression of the Painter’s Relationship with the Old Masters and the Studio Model
  • Artists and the Theatre: The Object and the Viewer Performing in the Art of Salvator Rose and Gianlorenzo Bernini
  • Buckingham House: A Three-Dimensional Portrait of George III and Queen Charlotte
  • Commercial Imperialism: Visions of South East Asia in late 18th-Century and Early 19th-Century English Architecture
  • Expression Through Building Materials: A Case Study of Francesco Borromini’s Ecclesiastical Projects
  • 'Glowing thoughts on glowing canvas:’ James Barry’s Venus Rising from the Sea
  • Hendrick Ter Brugghen’s St Sebastian Attended by Irene: An Allegory of Painting
  • Imagery of a Monarch: The Story of Jason by Jean-Francois de Troy
  • "It Was Like Enchantment": Fort George and Hanoverian Occupation in the Highlands
  • John Francis Moore's monument to William Beckford
  • Mary Sidney Herbert Countess of Pembroke’s Houghton Conquest and the Image of a Protestant Gentlewoman
  • Nicolas-Francois-Daniel Lhuillier and the Use of Stucco in Eighteenth-Century France
  • Pieter van Laer’s Self-Portrait in the Richard L. Feigen Collection, New York
  • Queen Christina of Sweden and the City of Rome
  • Salvator Rosa's Witchcraft Paintings: Comedy or Criticism?
  • Schooled by Wren, or Schooled by Wren? Designs for Two Charity Schools in the 1690s
  • Sensation, Sensibility and Philip Mercier’s The Five Senses
  • The 1771 Competition for Rebuilding Lincoln’s Inn
  • The Artist at Work: The Intertextual Art of Michael Sweerts
  • The Garden Indoors: the Function of the Belvedere, Petit Trianon
  • "The Pomp and Thunder of Law": Beauty, Utility, and Grandeur in the York Debtors’ Prison
  • The Relationship Between Art and Music in the Hermitage Lute Player and the Metropolitan Lute Player by Caravaggio
  • The Sultan Prince: Turquerie, Nostalgia and Narcissism in the Comte d’Artois’ Cabinet Turc

 

 

2002-03

 

  • A Moment of Wonder in the Art of Jacques de Gheyn II
  • A Tragi-comi-Exhibition Called the Nabob in Purgatory - the Totemic Image of Warren Hastings in Caricature
  • Dilapidation, Dereliction, Disrepair in the Netherlandish Landscape: Drawing in the Sacred Book
  • Displacement of Faith: Vermeer as History Painter
  • Feminising the Colonies: Miguel de Cabrera’s ‘Casta Paintings’ and the ‘Imaginary’ of the New World
  • Gianlorenzo Bernini's Fonseca ChapelCcomposto: Tradition Transformed by Spiritual Vision
  • Image and its Reception in the Portraits of Richard and Maria Cosway
  • John Singleton Copley’s Siege of Gibraltar
  • Lifting the Curtain: Henry Webber’s Monument to David Garrick
  • Reconfiguring Limits in Location of Power: Gerard Houckgeest’s ‘Interior of the Nieuwe Kerk, with the Tomb of William the Silent’
  • Rescuing Difference: Ambiguous Heroism in Benjamin West's General Johnson Saving a Wounded French Officer from the Tomahawk of a North American Indian
  • The Earl of Bute and Augusta, Dowager Princess of Wales; Sexual Politics in Popular Graphic Satire 1760 - 1763
  • The Fury of Athamas as Demonstration Piece: 'Grand Manner' Aspirations, 'Grand Tour' Collecting
  • The Mask: Some Uses of David and Goliath in Early 17th-Century Italian Art
  • The Meanings of the Death of Dido in 17th-Century Italy
  • 'The Persistence of the Ancien Regime in the Public Consciousness'. The National Past, c.1500 - 1800 in Salon Paintings and State Commissions of the Second Empire and Early Third Republic
  • The Prince of Wales and Mrs Fitzherbert in Graphic Satire, 1786 - 1794
  • Undressing the Student: Michiel Sweerts' Bathing Men

 

 

2001-02

 

  • 'The History and Antiquities of the Cathedral Church of Salisbury’: an Analysis of John Britton’s Book as a Construction of National Identity
  • Agostino and Annibale Carracci: the Beginnings of Caricature
  • Annibale Carracci and Self-Portraiture
  • Armed With Letters: Soldiers, the Painter Surface, and Depth of Meaning in Some Cortegaerden by Gerard ter Borch
  • Between Verbum and Imago: the Text/Image Dialectic in the Pictorum Effigies of Domenicus Lampsonius
  • Breathing Life into Stone: Selected Drawings by Peter Paul Rubens and Annibale Carracci after Antique Sculpture
  • Comic Overtones and Moral Undertones in Ribera’s Drunken Silenus: Piecing Together an Example of Visual Satire in 17th-Century Italy
  • Les Artisans du Roi — A Family of Craftsmen
  • Rowlandson and the Comedy of British Identity: a Study of Rowlandson’s Comic Images of Boxing
  • The Depiction of Bloodletting, its Practitioners and their Patients in the Work of Adriaen Brouwer and Quirijn van Brekelenkam
  • The Development of French Board Games with Particular Reference to le Jeu de l’oie from the Late 17th to the Early 19th-Century
  • The Formation of Highland Identity in John Singleton Copley’s Major Hugh Montgomerie
  • The Mirror in 17th—Century Netherlandish High-Life Genre Painting
  • Vernet’s Four Times of Day and the Logic of Decoration during the Last Decade of Louis XV’s Reign
  • William Frederick Witherington’s A Modern Picture Gallery: Representing the English School

 

2000-01

 

  • Image and its Reception in the Portraits of Richard and Maria Cosway
  • Lifting the Curtain: Henry Webber’s Monument to David Garrick
  • The Fury of Athamas as Demonstration Piece: 'Grand Manner' Aspirations, 'Grand Tour' Collecting
  • Gianlorenzo Bernini's Fonseca ChapelCcomposto: Tradition Transformed by Spiritual Vision
  • The Meanings of the Death of Dido in 17th-Century Italy
  • The Mask: Some Uses of David and Goliath in Early 17th-Century Italian Art
  • Feminising the Colonies: Miguel de Cabrera’s 'Casta Paintings’ and the 'Imaginary’ of the New World
  • 'The Persistence of the Ancien Regime in the Public Consciousness'. The National Past, c.1500 - 1800 in Salon Paintings and State Commissions of the Second Empire and Early Third Republic
  • Reconfiguring Limits in Location of Power: Gerard Houckgeest’s 'Interior of the Nieuwe Kerk, with the Tomb of William the Silent’
  • A Moment of Wonder in the Art of Jacques de Gheyn II
  • Dilapidation, Dereliction, Disrepair in the Netherlandish Landscape: Drawing in the Sacred Book
  • Undressing the Student: Michiel Sweerts' Bathing Men
  • Displacement of Faith: Vermeer as History Painter
  • A Tragi-comi-Exhibition Called the Nabob in Purgatory - the Totemic Image of Warren Hastings in Caricature
  • The Earl of Bute and Augusta, Dowager Princess of Wales; Sexual Politics in Popular Graphic Satire 1760 - 1763
  • John Singleton Copley’s Siege of Gibraltar
  • Rescuing Difference: Ambiguous Heroism in Benjamin West's General Johnson Saving a Wounded French Officer from the Tomahawk of a North American Indian
  • The Prince of Wales and Mrs Fitzherbert in Graphic Satire, 1786 - 1794

 


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