All Issues
Summary In the spirit of enquiry and experimentation, we have created a new platform for British Art Studies. The key drivers for this change have centred on issues of accessibility, equity, and environmental impact.
Summary A case study of Camerawork (1979-1985) thinks through the questions and challenges posed by representing periodicals in exhibitions and publications.
Summary This article is the first sustained examination of Ben Nicholson’s engagement with architectural painting.
Summary Examines how documentary sources provide insight into the identity, voice, and experiences of a Black sitter in an early modern British portrait.
Summary Positions the architectural historian Gavin Stamp as an exemplar of the activist-scholar tradition, and the British New Right.
Summary A visual essay places Frank Bowling’s Middle Passage (1970) paintings in conversation with Caribbean and Guyanese literary voices.
Summary Argues that J.M.W. Turner’s watercolour contains disguised allusion to the Tory government’s persecution of the political satirist William Hone, as well as corruption tied to the Earl of Lonsdale.
Summary Argues that through his self-portraits, L.S. Lowry negotiated the contradiction between his artistic ambitions and pressure to earn a wage in the context of shifting expectations around masculinity in twentieth-century Britain.
Summary Victorian shell mosaics known as sailors’ valentines, crafted by Afro-Barbadian women, embodied creolised material culture and served as a form of cultural and economic agency within the colonial tourism industry of Barbados.
Summary Explores how contemporary artists in Scotland, inspired by Kara Walker’s A Subtlety (2014), engage with the persistent legacies of sugar’s violent histories, linking imperial pasts with present artistic and activist expressions.
and Rosie Cooper
Sarah Victoria Turner
Summary In this interview, Charwei Tsai discusses the creation of over 200 ceramic vessels during her Wysing Arts Centre residency, drawing connections to Li Yuan-chia’s LYC Museum, and exploring spirituality.
and Jala Wahid
Summary Jala Wahid in conversation about her work and the politics that underpin it, discusses imperialist violence, apocalyptic images, monumental conflict, questions of time, and the politics of nationhood.
Summary Contributors discuss monuments as sites of social antagonism, examining their roles in colonialism, national identity, and public memory.
Summary This article makes use of multimedia elements such as film, animation, and moving images to better understand the spatial dynamics, display techniques, and creative processes behind the exemplary surviving print room.
Summary How is queer eroticism figured in artworks that might also deny it? This article attends to John Everett Millais’s ambivalent proximity to lesbian desire through an analysis of The Vale of Rest (1859) and other works.
Summary Analyses the debates about the professionalisation of the study of British art, focusing on the activities of the Paul Mellon Foundation for British Art, and its attempts to establish art history as an academic discipline in Britain.
Summary Offers technologies like 3D scanning, printing, CNC milling, and digital remixing as disruptive, but not destructive, analogues to historical reproduction methods such as casting and copying.
Summary Nigel Henderson’s photographs of Kenneth Martin’s abstract mobiles in a North London children’s hospital suggest a new way of understanding British constructionism.
Summary This feature documents the visual cultures of the Women’s Peace Camp at Greenham Common in an “anarchival curatorial experiment”.
Summary A short film explores artist Jacqueline Bishop’s depiction of the market woman, a pervasive, yet overlooked figure in Jamaican and Caribbean art and visual culture, on a set of newly decorated ceramic plates.
Summary Traces the evolution of Gustav Metzger’s aesthetic theories from a period of intense experimentation with materials, technology, and scientific processes in the 1960s to his Remember Nature project in 2015.
Summary Examines photography’s emergence in St Andrews through its ties to the British Empire, with David Brewster’s writings revealing the imperial frameworks behind the technology’s adoption.
Summary Virginia Woolf’s “Solid Objects” and Maurice Blanchot’s philosophy inspire analysis of Becky Beasley and Lucy Skaer’s art, exploring themes of life, death, and found objects.
Summary Argues that Trinitarian imagery was employed to construct a distinctive memory of the Black Prince, one that served to bolster the claims of his son Richard II.
Summary Suggests that John Kay’s satirical portrait of William Forbes of Callendar should be understood as a complex burlesque allusion which engages with prints after European Old Master and contemporary British history paintings.
Summary Demonstrates that Langdon Coburn’s experimentation with radical aesthetics began earlier than previously thought and was instigated by his friendship with English science fiction writer H.G. Wells.
and Justin McCann
Summary This special issue examines the Thames as a cultural and environmental force, focusing on its impact on nineteenth-century art, industry, and colonial legacies.
and Danielle Thom
Summary This collaborative article explores the lasting effects of the aesthetic and spatial implications of London’s West India Docks, and the ways in which these persist in influencing the site and its communities today.
Summary Traces the history of Queen Victoria’s Golden Jubilee through three objects: James McNeill Whistler’s print Tilbury (1887), a photograph taken aboard the HMY Victoria and Albert during the Naval Review, and a Royal Worcester commemorative scent bottle.
Summary Explores the expression of the pastoral in William Morris’s printed designs, arguing that his patterns are indirect representations of the landscape he most admired: the rural reaches of the Upper Thames.
Summary Considers representations of a fire that broke out at Cotton’s Wharf in Tooley Street, London, in 1861 as a case study that reveals a debate about the status of Britain as a global power.
Summary Giving voice to women’s presence beneath the surface of James McNeill Whistler’s images, this article suggests how, as “involuntary neighbours”, they made sense of the watery, arterial world of the Thames.
Summary Considers the significance of South London for James McNeill Whistler, particularly the line of Battersea factories that he viewed and depicted repeatedly from his home on Cheyne Walk from the 1860s.
Summary Explores how the Thames became a site where gas manufacture and ballooning came together to provide new forms of experience, spectacle, and economic opportunity as well as deadly risk and toxic effluent.
Summary The spectres of history and the possibilities of the future haunt this special issue of British Art Studies, which challenges readers to rethink the British decorative arts.
Summary Explores how the Renaissance may have posed a more malleable, self-assertive antidote to the pressures of twentieth-century fashion, and the systems it upheld.
Summary Looks at the dialogue between microscopical arranged slides that became popular in the second half of the nineteenth century and the design theories of Owen Jones.
Summary Describes the approach taken to interpreting, in a gallery setting, a set of silver with a troubling history.
and Joseph Mizhakii Zordan
Summary Examines the uses and meanings of white “Cherokee clay”, among Cherokee and British potters, and between their respective political and cultural worlds.
Summary This article reappraises a set of ceramic portrait medallions that served to educate and promote what it meant to be a woman in the late eighteenth century.
Summary Contextualises the production, purchase, and display of specimen tables in the eighteenth and nineteenth centuries.
Summary Dissects the development of the “blackamoor” as a decorative category through case studies of objects at Ham House, Knole, and Dyrham Park.
Summary What can a suit tell us about gender, sex, and class in post-war Britain?
Summary Investigates the transformation of porcelain shards washed up on the beaches of St. Croix from island debris into artworks and decorative objects.
Summary Discusses how the Cherokee visitors to London became such a spectacle by studying three wax statues that were made in their image.
Summary Combines colonial era ceramic techniques and contemporary themes including gun violence, fossil fuel geopolitics, and the influence of big tech.
Summary Curators and academics discuss the challenges of displaying and interpreting race and empire in a decorative arts gallery.
and Roberto Visani
Summary This article presents a discussion about the artist’s ongoing confrontation with the visual archive of slavery through the cardboard slave kits series.
Summary For this feature, curators were asked to revisit and revise an object label they had previously written.
Summary Highlights the work of participants in the exhibition Another Crossing, with an introduction by its guest curator Glenn Adamson.
Summary A case study considers how gallery design and interpretation can enhance engagement with the colonial histories of glass objects.
Summary Contributors respond to the provocation of correlating art and art history with idea of the “nation”. Responses from Jenny Gaschke, Sarah Gould, Gill Perry, Francesco Ventrella, Kimberly Lamm, Jackson Davidow, Isobel Harbison, Edwin Coomasaru, James Alexander Cameron, Imogen Hart, Corinne Fowler and Alexander Massouras.
and Ming Tiampo
Summary The first part of the Slade, London, Asia feature presents a narrative history that takes the Slade School of Fine Art as the starting point for a global microhistory.
and Liz Bruchet
Summary The second part of the Slade, London, Asia feature brings together materials from multiple institutional and personal archives in Asia and the United Kingdom.
Summary Explores the imaginative purchase of the historical and the antiquarian as Gustav Metzger learned to live, work, and practise as an artist outside the cosmopolitan centre.
Summary Considers Zarina Bhimji’s work in relation to surrealist and second-wave feminist artists through her interest in affect, memory, and the symbolic representation of enigmatic childhood and domestic objects.
Summary This feature brings together historians of art and historians of medicine to explore the production and reception of Joseph Maclise’s Surgical Anatomy.
with Ludmilla Jordanova
and William Schupbach
Summary Three films discuss the production, use, and circulation of anatomical images and texts from the eighteenth and nineteenth centuries in the Wellcome Collection.
Summary Tracks the networks of specialists with whom Maclise was associated, from Cork and the capitals of Scotland, England, and France, across the Atlantic to Philadelphia and Boston.
Summary An examination of Maclise’s rendering of the interior and exterior of the Black body considers the relationship between aesthetics and race in mid-nineteenth-century anatomical illustration.
Summary Argues that it is plausible and meaningful to take Maclise’s anatomical illustrations, and the figures depicted therein, as queer objects of queer desire.
Summary Contextualises the collaborative effort behind the publication of Maclise’s The Anatomy of the Arteries within the broader landscape of nineteenth-century anatomical publishing networks.
Summary Traces the US reception of Joseph Maclise’s Surgical Anatomy and outlines its impact on American medical publishing, pedagogy, and practice.
Summary Presents a reading of Millais’s painting as a “metapicture” that looked ahead to the planting of the British flag at the North Pole and also to today’s treatment of the Arctic in contemporary art.
Summary Considers John McHale’s writing and art practice as an evolving response to Marshall McLuhan’s media ecology.
Summary Obstetric Tables stood out among midwifery guides of the period for its coloured lithographic illustrations, mobilised by the construction of paper flaps.
Summary Contributors respond to the provocation that the concept of object “life-histories” in museums has masked the colonial violence inherent in their collections.
Summary Victor Ehikhamenor’s Royal Religion series fuses Catholic rosaries, coral beads, and bronze statuettes to explore the hybrid history of garments worn by the Benin monarch.
Summary The Pitfour photographs illuminate the tension between the early progressive uses of photography, particularly by women, and the often-repressive contexts that shaped their production.
Summary Case studies of the 1961 IUA Congress and Victor Pasmore’s Peterlee project trace the decline of British constructionism amid changing cultural discourses.
Summary Examines the afterlife of Aubrey Beardsley in Russia, focusing on his admirers among the World of Art group, led by Sergei Diaghilev, and the circulation of Beardsley’s images through their journal Mir iskusstva.
Summary Argues that daguerreotypes must be understood as image-thing amalgams, paying particular attention to the construction and marks on their cases and frames.
Summary Contributors consider whether the ecological crisis demands a fundamental transformation in the way art history is structured and taught.
Summary Worm: art + ecology curates this feature, showcasing the work of four artists alongside their own practice to explore justice in environmental and climate issues.
Summary Moss Rain Paradox is a research project that examines the UK’s imminent water scarcity issues and responds to a spectrum of climate perspectives.
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Summary Standing with the Wang Chau villagers resisting eviction by the Hong Kong government, these works capture their collective farming, jackfruit festival, activism, and daily co-learning through paintings, photos, and anecdotes.
Summary Documents and archives the work of Indigenous and Afro-descendant organisers using vibrant, accessible images focused on anti-colonial, climate, and social justice issues.
Summary Investigations that utilise geospatial analysis and architectural methodologies to reconstruct cases of environmental violations.
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Summary Contributors consider the role that decorative objects, which have long been deemed as “superfluous”, played in shaping and negotiating our political, social, and economic needs, wants, and desires, both past and present.
Summary Considers a series of encounters with printed, painted, and sculpted portraits by a range of viewers with different political and religious inclinations during the 1650s.
and Martin Myrone
Summary Considers a series of encounters with printed, painted, and sculpted portraits by a range of viewers with different political and religious inclinations during the 1650s.
and Paul Messier
Robert Hixon
with photography by Richard Caspole
Summary This feature explores the photography of Bill Brandt from the perspective of the physical print, drawing attention to its material qualities and practical functions.
and John Cooper
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and James Jago
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and Lloyd de Beer
David Saunders
Catherine Higgitt
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Summary This feature presents an illustrated lecture delivered by artist Laura Grace Ford in conjunction with a conference and exhibition on William Blake at Tate Britain.
and John Wyver
Summary Two short films and an essay explore the aesthetic and historical qualities of Bert Hardy’s wartime and post-war photography for Picture Post.
Summary This essay traces how Ananda Kentish Coomaraswamy and his wife Ethel Mairet’s photographs and studies of craft in India and Ceylon in the 1900s relate to Charles and Ray Eames’s 1958 India Report.
Summary Proposes a reinterpretation of Turner’s painting as an attempt to stage a certain crisis in the Enlightenment, at the level both of form and content—the blinding effect of too much light.
and Sarah MacDougall
Summary Describes a collaborative technical and art-historical study of paintings by Mark Gertler sparked by the discovery through X-radiography of a painted sketch for his masterwork Merry-Go-Round (1916).
Summary A visual essay explores the interplay between portraiture, politics, class, and race across Britain, Europe, America, and Australia, linking diverse visual and scientific practices.
introduced by Sarah Perks
Summary This feature showcases new work by James Richards that continues the artist’s investigation into the body and technology, as well as a short essay by curator Sarah Perks.
Summary Explores how three 1976 publications functioned as alternative catalogues for a Victoria and Albert Museum exhibition, highlighting the magazine’s role as a key site for art-historical experimentation.
Summary Investigates the history of the joint exhibition of Jack B. Yeats and William Nicholson at the National Gallery in 1942.
Summary Considers how the industrial production of oil paint became a flashpoint for debates about the effect of capitalist modernity on painting in particular and society more broadly.
Summary Explores how three 1976 publications functioned as alternative catalogues for a Victoria and Albert Museum exhibition, highlighting the magazine’s role as a key site for art-historical experimentation.
Summary Re-examines Harriet Hosmer’s Clasped Hands, challenging assumptions about the indexicality of life casts and instead proposing a dynamic relationship defined by nearness between cast and subject.
and Sarah Victoria Turner
Summary Introduces this special issue of British Art Studies, the first publication to emerge from the Paul Mellon Centre’s London, Asia research project.
Summary An introduction to the symposium Showing, Telling, Seeing: Exhibiting South Asia in Britain, 1900 to Now.
Summary Contributors respond to the idea that exhibitions provide an important lens through which to explore the entangled art histories of Asia and Britain.
and Sneha Ragavan
Summary Presents an interview with the founder and director of the non-profit organisation Raking Leaves, which publishes artist books with an emphasis on the geopolitical and cultural contexts of South Asia.
and Rattanamol Singh Johal
Summary The curator of Century City: Art and Culture in the Modern Metropolis in 2001 at Tate Modern looks back at this ambitious exhibition, discussing its development, challenges, and legacy.
and Hilary Floe
Summary n interview with David Elliott discusses his time as director the Museum of Modern Art in Oxford, in particular his influential series of exhibitions under the title India: Myth and Reality.
Summary A personal article reflects on the history, impact, and legacy of the 1973 Instant Malaysia exhibition at the Commonwealth Institute, London.
Summary Discusses the links between London and Kuala Lumpur during the 1960s and 1970s, through several exhibitions of Malaysian art organised at, or by, the Commonwealth Institute, London.
Summary A close reading of London’s Commonwealth Institute and its intriguing gallery floor plan of 1969, considering the interaction between display, exhibition graphics, and imperial change.
and Sanjukta Sunderason
Summary Explores the journeys of two key twentieth-century artists from East Pakistan—Zainul Abedin and S.M. Sultan—to and through post-imperial London in the early 1950s.
Summary Focuses on the largely understudied Art of India exhibition held at the Burlington Fine Arts Club in London in 1931, which was hailed at the time as the first event of its kind in the West.
Summary Methods and findings from the ongoing research project Articulating British Asian Art Histories focuses on four exhibitions of South Asian women artists during the 1980s and early 1990s.
Summary This curatorial essay discusses an experimental performance programme, Being Present, which included three works by three artists from the Asia-Art-Activism Research Network.
Summary An artistic intervention originally performed as part of the exhibition Speech Acts at the Manchester Art Gallery in March 2019.
Summary An artistic intervention originally performed as part of the exhibition Speech Acts at the Manchester Art Gallery in March 2019.
Summary An artistic intervention originally performed as part of the exhibition Speech Acts at the Manchester Art Gallery in March 2019.
Summary This feature reflects on the invisibility of women’s perspectives of domesticity in early post-war art, and the process of working with community groups to develop curatorial research.
Summary This feature assembles archival material, text and images in a non-linear fashion to examine the experience of a single year of exhibitions in 1964.
and Alan Crookham
Summary A case study of art dealer Agnew’s presents a methodological discussion of how digital tools can be used to investigate circulation and transnational exchange in the historical art market.
Summary Explores how Robert MacBryde and Robert Colquhoun’s experience of life on the home front as non-combatants and erstwhile pacifists in Britain informed their work during the Second World War.
Summary Case studies of three works related to the LYC Museum & Art Gallery in Cumbria explore how friendships inform shared practices, generate work, and socialise narratives.
Summary An account of Delia Derbyshire’s work in the 1970s after she left the BBC also includes an unreleased recording from an unfinished project in 1980.
Summary A short film explores the life and creative output of Delia Derbyshire, accompanied by an interview with the filmmaker.
Summary Introduces this special issue of British Art Studies, which focuses on landscape imagery as an area of study attracting new kinds of art-historical attention.
Summary Explores how landscape art has historically reflected ideological concerns and examines its evolving significance in contemporary global and postcolonial contexts.
Summary Drawing from scholarship in fire ecology and ethnohistory, this article suggests new approaches to art historical analysis of colonial landscape art.
Summary Contributors respond in a wide-ranging discussion on the evolving role of landscape art in contemporary culture, exploring how it intersects with literature, history, and environmental concerns.
and David Alesworth
Summary This feature with David Alesworth showcases five details from his recent projects that suggest the range of different questions we may pose to landscapes now.
Summary Explores the attunement of Paul Nash’s work to pioneering early to mid-twentieth century geophysical research in England—connections that have not yet been fully recognised.
Summary Traces the life of a representationally elusive and stubborn landscape, the Hoo Peninsula in Kent, through various forms of visual culture.
Summary Studying watercolours from the Virginian residence of Benjamin Henry Latrobe, this feature analyses the concept of “displacement” as a contribution to landscape studies.
Summary Considers the presence of the pond in the work of two artists: one contemporary and the other a historical English landscape artist, both of whom are attentive to a range of hydrologies.
Summary Through the “Anthroposcenic”, this article explores how landscape becomes emblematic of processes deemed to mark an Anthropocene epoch.
Summary Drawing on examples of installation, film, photography, and performance, this article explores the significance of the island theme in contemporary British art.
Summary Examines how eco art, land art, and landscape interact within the Anthropocene, focusing on artists bringing natural landscapes into galleries and institutional frameworks.
and Val Williams
Summary Presents a new research project by the artist Corinne Silva and the curator and writer Val Williams retracing the footsteps of W.G. Hoskins and F.L. Attenborough for their 1948 guidebook Touring Leicestershire.
Summary This feature with David Alesworth showcases five details from his recent projects that suggest the range of different questions we may pose to landscapes now.
Summary An exhibition history of Landscape in Britain c.1750–1850 at the Tate Gallery in 1973, looks at how the curators set out to question received ideas about the rise of landscape painting in Britain.
and Peter Trippi
Summary Introduces a group of articles and features on artists’ houses by considering the Alma-Tademas’ studio-houses, their influence on art, design, and early cinema.
and Peter Trippi
Summary Contributors explore artists’ studio-houses as creative spaces that shaped personal identities, artistic collaboration, and cultural influence, extending beyond mere domestic settings.
Summary Contributors explore artists’ studio-houses as creative spaces that shaped personal identities, artistic collaboration, and cultural influence, extending beyond mere domestic settings.
Summary Addresses how Frederic Leighton’s Arab Hall embodies a complex synthesis of Islamic art and British Aestheticism, revealing tensions between historical authenticity and artistic restoration.
and Mary Roberts
Summary Five short films made by Jonathan Law with texts selected by Mary Roberts highlight the atmospheric materiality of the studio-home of Frederic Leighton.
Summary This article considers the art of Gilbert and George in relation to the concept of the threshold, placing their work in the context of a pervading sense of crisis in 1970s Britain.
Summary The editorial to this issue describes work by the journal’s editors on another project, The Royal Academy Summer Exhibition: A Chronicle, 1769–2018.
Summary Argues that Constable’s Hadleigh Castle can be understood as fundamentally engaged with scientific ideas arising in contemporary geology and meteorology.
Summary Suggests Williams’s Amerindian focus is best understood in terms of a “hauntological” mode of abstraction critically responsive to the moment of decolonisation.
Summary Examines the coverage of the visual arts by the BBC’s Monitor, exploring its place in the evolution of approaches to art on British television and assesses its impact on the post-war art support system.
Summary Pippa Oldfield reflects on curating an exhibition of war photography by women and the research involved in recovering the work and experiences of women photographers.
Summary A short film exploring Paul Nash’s diverse works across media, emphasising interconnected themes of pattern, design, and nature, advocating for a unified interpretation.
Summary Examines Alexander Davison’s patronage of history painting, exploring his ambitions for social advancement and the genre’s public–private role in early nineteenth-century Britain.
Summary Looks at Lionel Wendt’s photography, highlighting the interplay between colonialism, pearl fisheries, coerced labour, and the aesthetic allure of pearlescence and shimmer.
Summary Describes how illustrations from James Cook’s Pacific expeditions were widely circulated through eighteenth-century British magazines and shaped public perceptions of the Pacific.
Summary Contributors respond to the influence of 1960s London style cults on art, focusing on their innovative blending of fashion, music, and self-expression within broader cultural and social contexts.
with photography by Richard Caspole
Summary This feature explores Clare Twomey’s Made in China installation at the Yale Center for British Art.
Summary Biographical entries for the women portrayed in Vanessa Bell and Duncan Grant’s set of fifty plates of “famous women” accompany an article that examines the place of this playful work in the artists’ oeuvres.
Hana Leaper
and Carmen Hermo
filmed by Jonathan Law
Summary Judy Chicago and the Feminist Art Collective discuss their work in a filmed conversation, reflecting on Vanessa Bell and Duncan Grant’s Famous Women dinner service.
and Jessica Berenbeim
Summary The editorial to this special issue on medieval art and architecture examines the evolving concepts of invention, visual difference, and historical perceptions of novelty in medieval works.
Summary Medieval invention blended rationality and mystery, with art sometimes perceived as possessing persuasive or supernatural forces, though most often rooted in social conventions, rules, and playful creative processes.
Summary Explores how innovation in English Gothic architecture was shaped by risks, constraints, structural failures, and the relationship between masons and their patrons.
Summary Scholars have long conflated Gothic architects into a generalised figure – this article critiques that framework and suggests alternatives for understanding medieval designers.
and Nicholas Webb
Summary Analyses the design and construction of Wells Cathedral’s lierne vaults using digital scanning to reveal varied processes and experimentation during construction stages.
Summary A study of the relationship between medieval church porches and the porches of King Solomon, highlighting the inventive ways medieval designers interpreted prototypes from written sources
Summary Examines the significance of medieval “recreated Jerusalem” sites, and specifically the Jerusalem Chamber in the abbot’s house at Westminster Abbey, where Henry IV died in 1413.
Summary Explores why sedilia – the ceremonial seats of the priest, deacon, and subdeacon placed to the south of the altar – became so popular in England, through a consideration of trends in English architecture.
Summary Considers whether the earliest surviving example of side-by-side effigies of a married couple in the British Isles was intended to assert the legitimacy of a claim to the earldom of Menteith.
Summary Considers the significance of the image of the Tree of Jesse that appears in stained glass in the chapels of New College, Oxford and Winchester College, both founded by William of Wykeham, bishop of Winchester.
Summary Argues that the Chichester seal matrix was intentionally designed to reference legal and biblical authority, positioning the cathedral as a “temple of justice”.
Summary Explores the fifteenth-century reinvention of Getty Ms. 101, a late Romanesque picture book that was reconfigured as a devotional manual.
Summary An investigation into the only known English example of a Wound Man image, positioning the picture as a site not just of surgical knowledge but of a broader medico-artistic entanglement.
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and Naomi Speakman
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Summary Close analysis discloses Hockney’s repertoire of artistic and literary allusions in Rocky Mountains (1965), and the meanings and associations these may have encapsulated.
Summary Explores how free access to the British Museum’s sculpture galleries shaped art education and reinforced middle-class dominance in early nineteenth-century Britain.
Summary Resituates A Short Flight within the context of aviation in London before the First World War, when 120,000 people attended the meeting at Hendon Aerodrome over the Easter weekend of 1914.
Summary What does it mean to draw a slum? Lowry, one of the few artists to take up this question, adopted a notably uninflected manner, descriptive, but not dramatic.
Summary Introducing a feature on the Hereford Screen, one of the most complex and intricate choir screens of the Victorian era.
Summary Explores the Victorian revival of choir and rood screens, their theological significance, and artistic evolution, accompanied by three films illustrating their impact on sacred spaces and Christian worship.
Summary Examines Skidmore and Scott’s Hereford Cathedral screen, its historical context, and connections to their work at Lichfield and Salisbury, addressing eighteenth-century “improvements”.
Summary Reveals the dynamic, mutually reinforcing relations among choir screens, the spaces they inhabited, and the liturgical objects that animated those zones.
Summary Describes how digital documentation of Hereford Cathedral and the Hereford Screen has revealed standpoints within the cathedral that would have dramatically impacted the appearance of the screen.
Summary In focusing on the musical culture connected with Hereford Cathedral, this article enriches the interpretation of the restored Hereford Screen in its secular setting at the Victoria and Albert Museum, London.
Summary Examines the collaboration between architect George Gilbert Scott and metalworker Francis Skidmore, comparing their metalwork screens at the cathedrals of Hereford, Lichfield, and Salisbury.
Summary Provides a broad narrative of how the screens designed Gilbert Scott and Skidmore for the cathedrals of Hereford, Lichfield, and Salisbury, have been regarded since they were produced.
Summary In this film, the Victoria and Albert Museum’s Head of Metals Conservation, Diana Heath, describes her involvement in the intricate conservation and restoration of the Hereford Screen.
Summary This editorial recaps the journal’s first year of publication, highlighting newly introduced features and looking ahead to upcoming work.
and Victoria Walsh
Summary Three reels of photographs taken by Nigel Henderson reveal a visual lexicon of New Brutalism that links the 1953 Parallel of Life and Art exhibition and the Hunstanton School project completed in 1954.
and Abram Fox
Summary Draws on quantitative methods to explore the gradual emergence of a tightly scheduled auction season in London at the turn of the nineteenth century, focusing on the sale of paintings.
Summary This article and the accompanying reconstruction explore methods for representing lost displays, with an emphasis on visualising uncertainty and the mediated nature of period images.
Summary Looking at the palliative, diplomatic role played by photographic portraiture following the Indian Rebellion (1857–59), this article assesses how photography engaged with warfare’s social upheavals.
Summary Analyses Duncan Grant’s mural for the Borough Polytechnic, and the painting’s linkage of naked homosociality to a subtle figuration of desire that echoes E.M. Forster’s “only connect” dictum.
Summary This article re-examines Rowlandson’s ambitious caricature of the French in the context of his training at the Académie Royale in Paris, as well as the rise of public exhibitions and market for comic prints.
Summary Contributors discuss whether the current interest in the 1970s will prove anything more than another passing curatorial revival and generate its own inventive forms of practice and theory?
Summary A selection of photographs by Martin Parr that have come to define particular notions of what Britishness looks like.
and Martina Droth
Summary Video-recordings made at the conference Photography and Britishness, held at the Yale Center for British Art in November 2016.
and Penelope Curtis
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Summary This editorial highlights the journal’s international reach, open-access digital platform, and commitment to expanding British art studies through innovative methodologies.
Summary Explores how William Cantrill’s 1812 etchings dedicated to the Marchioness of Stafford used genre painting to mediate tensions from the Highland Clearances.
and Robyne Erica Calvert
Summary Contributors respond to the provocation that women artists are “still invisible”, examining their underrepresentation in British art and efforts to improve their visibility.
and Jens Stenger
Summary Examining six paintings from Canaletto’s English period from a technical perspective, this article details changes to the artist’s grounds, painting technique, and palette when working in England.
Summary Exploring the 3rd Duke of Dorset’s investment in Reynolds’s experimental paintings, this article views his risky patronage as a high-stakes gamble for social advancement.
Summary An interactive feature explores the “Longitude Problem” through Hogarth’s art, using images and illuminates its role in Georgian visual culture.
and Elaine Kilmurray
Summary Technical analysis and archival research uncover new insights into John Singer Sargents’s process in creating Carnation, Lily, Lily, Rose.
Summary This study of conversation piece portraits, argues that they replicated the experience of meetings hosts, replicating the experience of a private greeting tied to the rituals of hospitality.
and Mark Hallett
Summary An audio-visual conversation addresses Copley’s involvement with prints throughout his career, from his early years in Boston to the sale of his estate after his death in 1815.
Summary This feature presents animated images inspired by the renovation and temporary closure of Louis I. Kahn’s Yale Center for British Art in New Haven.