2009-10


  • Prints, Conflict and ‘Talking Pictures’: the Relationship between Northern European Print Sources and Decorative Art produced in Aberdeen during the Seventeenth Century

  • Jacques Callot’s ‘Silent Images’: Courtly and Religious Encounters in Callot’s Emblematic Imagery

  • Recording and Inventing: Stefano della Bella and Parisian Printmaking in the Second Quarter of the Seventeenth Century

  • The Chevalier d’Eon de Beaumont’s Split Body in Print: the Ambiguous French Body in British Print Culture, c. 1777

  • A princely Education through Print: the Didactic History of Stefano della Bella’s 1644 ‘Jeux de Cartes’ etched for Louis XIV

  • Drawing at Arcueil: Process and Meaning

  • Bridging Difference: a Comparative Study of Jean-Etienne Liotard’s Turkish and Austrian Drawings

  • Richard Westall ‘in his drawings exceeds himself’: the Trajectory of an Artistic Identity, 1779-1795

  • Giles Hussey (1710-1788): an Album of Drawings at the British Museum

  • St James’s Palace, 1714-1760: the Urban Residence of George II and Queen Caroline

  • ‘An Englishwoman’s Home is her Castle’: Lady Pomfret’s House at 18 Arlington Street, London (1756-1760)

  • Thomas Sandby’s Architectural Theory and the Bridge of Magnificence

  • ‘The New Buildings called Adelphi’: the Royal Terrace, the Adelphi Embankment, and London in ‘The Works in Architecture of Robert and James Adam’ (1822)

  • Pageantry and Pyrotechnics: the Ephemeral Nature of the Temple of Concord in Green Park, 1814

  • The Art of Distinction: Surgeons’ Guild Portraits in Seventeenth-century Amsterdam

  • Resemblance and Dissimulation: the Portrayal of the Black in Early Modern Spanish Painting

 

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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