External Contributors

Jan Dirk BAETENS

JDK is Assistant-Professor of Nineteenth-Century Art at the Departments of Art History and Cultural & Literary Studies of the Radboud University Nijmegen (the Netherlands). His research focuses on historicist painting and on the nineteenth-century art market. He is currently preparing a book-length study on the Belgian painter Henri Leys (Henri Leys and the Resurrection of the Past; Leuven University Press, 2016) and an edited volume entitled Art Crossing Borders: The International Art Market in the Age of Nation States, 1760-1914, co-edited by Dries Lyna and to be published in 2016.

James A. BROWN

JAB studied Art History at Lancaster University and is presently writing his PhD on art criticism and the magazine Modern Painters at Plymouth University. He is also a lecturer at Plymouth College of Art. James’s research interests include the exhibition (through curatorship) and reception (through criticism) of contemporary art, as well as the teaching of curatorship and criticism in a Higher Education context. JAB can be found at plymouth.academia.edu/JamesBrown

Paul van CAPELLEVEEN

PVC is curator for the Collections Department at the Koninklijke Bibliotheek, National Library of the Netherlands, editor of the book historical magazine Quaerendo and the Dutch language magazine De Boekenwereld. He co-edited and published Voices and visions. The Koopman Collection and the Art of the French Book (2009) and The Ideal Book. Private presses in the Netherlands, 1910-2010 (2010). He also curated exhibitions, online exhibitions and publications on book design, Dutch and English literature, private presses, and artist’s books. He writes a weekly blog about book artist Charles Ricketts and a website on Dutch book collectors (from the Middle Ages to the Present).

Alexis CLARK

AK received her PhD in Art History and Visual Studies from Duke University. Clark’s current research concentrates on European and Latin American art and cultures of exhibition in the nineteenth and twentieth centuries. She is editing her dissertation for publication as a book-length manuscript, The Musée du Luxembourg and the Making of Modern Art History, 1870-1937, which promises to trace an alternate history of art tying together the histories of academicism and modernism. Clark has presented her research at numerous national and international conferences and has current and forthcoming publications in Art History, The Burlington Magazine, Nineteenth-Century Art Worldwide, and Oxford Art Journal. Prior to her current appointment at Denison University, she taught at the University of Southern California.

Janelle DIETHELM

JD studied History and Art History at Allegheny College in Pennsylvania and is currently working on her Masters Degree in the History and Business of Art and Collecting at The Institut d’Etudes Supérieures des Arts.  Her academic work has focused mainly on Early Colonial and Revolutionary American history as well as a variety of historical art collectors from 1700-1900.

Amanda HILLIAM

AH is a collaborative doctoral award candidate at the National Gallery, London and Oxford Brookes University, funded by the AHRC. Her research explores three-dimensionality and the interaction between other art forms, including metalwork and sculpture, in the work of Carlo Crivelli. She has worked with Old Master paintings and drawings in the commercial art world and is particularly interested in the materials and techniques of early Italian paintings. She received her BA from the University of Bristol and her MSt from the University of Oxford in History of Art and Visual Culture.

Neil JEFFARES

NJ  is an art historian with a particular interest in eighteenth-century pastels. Since 1999 his contributions on art history and portraiture have appeared in journals ranging from the Burlington Magazine, Apollo and the Gazette des Beaux-Arts to the Court Historian and Le Musée Condé.

In 2006 he published the Dictionary of pastellists before 1800, awarded the Besterman/McColvin medal for the outstanding reference book published in the UK that year.

NJ maintains a greatly expanded online version of this work under the legend Pastels & pastellists. He believes that the special aesthetic pleasure offered by pastels can be enhanced and informed by a prosopographic understanding of all those involved in their creation and collection.

NJ is on Twitter @neiljeffares and has a blog in which his background as an investment banker merges with his interests in law, philanthropy and the arts.

Ulrike KERN

Ulrike Kern is an academic assistant at the Goethe-Universität Frankfurt am Main. She studied in Braunschweig and London, and completed her PhD at the Warburg Institute in London, followed by a post-doctoral fellowship at the Getty Reseach Institute in Los Angeles. UK has contributed to Oud Holland, Simiolus and several conference volumes since 2011, and is presently preparing the publication of her book on light and shade in Dutch and Flemish art, forthcoming this year. Her research interests are early modern art, art theory, light and colour, Dutch, Flemish and British art.

Ioannis TZORTZAKAKIS

Ioannis Tzortzakakis has studied Archaeology (Aristotle University of Thessaloniki), Humanities (The Open University, UK), History of Art (University of Crete), and Museology (Aristotle University of Thessaloniki, School of Architecture). He is currently a PhD student in History of Art (Aristotle University of Thessaloniki, School of Architecture). He has followed courses on Egyptian art and life, Italian palaeography and archival studies, museum education and on cultural heritage management. Ioannis has worked as archaeologist and has been involved in art history and museology projects, in Italy, France and Greece. He is a contributor to the Allgemeines Künstlerlexikon (AKL) by de Gruyter. In addition, he is the founder of the online Art Histories Society and publisher and editor-in-chief of the Art History Supplement e-journal. His webpage on Giorgio Vasari has already attracted great interest.

Samuel SHAW

Samuel Shaw is a post-doctoral research fellow at the Yale Center for British Art. His work is concerned with various aspects of British art between the years 1890 and 1920, with a particular focus on the life and works of the Bradford-born artist William Rothenstein (1872-1945), the London art market c.1900, the fin-de-siecle interior, Jewish artists and identity, art in Yorkshire, mural painting, British imperial identity, and relationships between British artists and the continent. SS is also very interested in the reception of the Old Masters in the late nineteenth and early twentieth centuries. SS is currently writing a book on Rothenstein, and researching the life and work of C.J. Holmes, an art historian and painter of ‘industrial landscapes’.

Hongmiao SHI
HS studied early-modern and modern architectural history at University College London and the Courtauld Institute of Art. She joined The Burlington Magazine in March 2015 as their Production and Marketing Executive. Beyond the Burlington, HS runs a blog called Composite Column [compositecolumn.co.uk], which discusses a combination of architecture, art and design.  HS is on social media as @HongmiaoShi.

Julia SNAPE

JS embarked on an MA in Museum Studies at the University of Manchester. Upon completing the MA, was employed as a heritage assistant at Kingston Museum. In September 2006 JS secured AHRC funding for her PhD research at the University of Manchester and begun researching into the history of the display of medieval objects in both private and public collections from the mid 18th century to the present day. JS approached the research as a museological project in which she could explore the influences of curatorial practice on the reception and understanding of medieval objects across time in order to offer some understanding of the significant role of museological practice, specifically exhibitionary culture, on our changing modes of engagement with medieval objects. This research has of course opened up further related areas of interest which JS continues to pursue including the development of medieval art historiography in the nineteenth and early twentieth centuries; the networks of influence between collectors, dealers and museum professionals and its impact on our understanding of historical objects; the use of lighting as an apparatus of affect in exhibitionary practice. JS currently work as a heritage assistant at Kingston Museum and Art Gallery (contact: juliasnapeAThotmail.com; Julia.SnapeATkingston.gov.uk)

Luke UGLOW

LU is a Teaching Fellow in the History of European Art at the University of Aberdeen. His main research focus is the historiography of Italian Renaissance Art, specifically responses to early sixteenth-century Venetian painting. He completed his thesis on the reception of Giorgione between 1870 and 1890 at the University of Edinburgh in 2012. LU is interested in art historical methodology in general, and is particularly interested in connoisseurship and connoisseurs. To understand these troublesome things, he began working on the history of The Connoisseur magazine, and has published an article ‘The Life and Death of The Connoisseur’ in the Arts Libraries Journal, Vol.39, No.1, January 2014

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