Marcia Pointon


Marcia Pointon is Professor Emerita of History of Art at the University of Manchester UK and Research Fellow at the Courtauld Institute of Art, London. She lives in central London and in Northern Tuscany. Having studied both English and History of Art, her professional interests range widely across many aspects of visual culture, imagery and representation in Western media from around 1700 to the present day. She has written on Portraiture, Landscape, Book Illustration, the Body in Representation, Gender and Imagery and on the interrelations between the applied arts of jewellery and other forms of historical visual evidence. Marcia Pointon’s 2009 book about jewels in art and literature explores both the materiality of gems and jewellery and the economics and politics of a culture of surface display that functioned across national boundaries and encompassed simultaneously both ancient traditional bodies of knowledge and new scientific approaches to the world (see Brilliant Effects below and louvre tickets). Her latest book entitled Portrayal and the Search for Identity looks at different ways of approaching portraiture, including in relation to the material culture of dress (click on link below). A fully revised History of Art: A Students’ Handbook fifth edition was published by Routledge (Taylor & Francis) in March 2014. Her new book Rocks, Ice and ‘Dirty Stones’: Diamond Histories will be published by Reaktion Books in March 2017. Marcia is a member of the Courtauld Institute of Art Research Forum’s International Advisory Board, the National Portrait Gallery’s research advisory group and the Public Catalogue Foundation/University of Glasgow Oil Paintings Expert Network. 2014-16 Marcia Pointon held a Leverhulme Emeritus Research fellowship to complete her book Diamond Histories. she has been a Trustee of The Art Fund since July 2015.

Brilliant Effects: A Cultural History of Gem Stones and Jewellery, New Haven and London, Yale University Press, 2009, pp. 426, ill. 371 (ISBN 978-0-300-14278-5) WINNER OF HISTORIANS OF BRITISH ART BOOK PRIZE 2011- For contents click on Sample Documents in the menu bar.

Portrayal and the Search for Identity, London, Reaktion Books, 2013 pp. 272, ill. 102 (ISBN 978-1-78023-041-2)

History of Art: A Students’ Handbook, 5th edition, Routledge, 2014, pp. 164 (ISBN 978-0-415-63924-8)

Rocks, Ice and Dirty Stones, London, Reaktion Books, 2017, pp. 256, ill. 103 (ISBN 978-1-780-23752-7)

Contact Marcia Pointon -

Some published articles can be downloaded from this site (click on ‘articles’ in the side bar); for a more complete selection go to Researchgate

Books by Marcia Pointon

M.Pointon, Rocks, Ice and Dirty Stones: Diamond Histories, Reaktion Books ((ISBN 9781 78023 7527)

M. Pointon: Portrayal and the Search for Identity, London: Reaktion Books, 2013, (ISBN 978 1 78203 041 2)

M.Pointon, Brilliant Effects: A Cultural History of Gem Stones and Jewellery, New Haven and London: Yale University Press, 2009, pp 426, ill.371 (ISBN 978-0-300-14278-5)

M. Pointon, William Hogarth’s ‘Sigismunda’ in Focus, London: Tate Publishing, 2000, pp. 40, ill. 23

M. Pointon, Strategies for Showing: Women, Possession and Representation in English Visual Culture 1650-1800, Oxford: OUP, 1997, pp.439 M.

Pointon, ed., Art Apart: Art Institutions and Ideology across England and North America, Manchester University Press, 1994 (with contribution by Pointon) , pp. 292 (introduction and ch. 3, pp. 50-68)

M.Pointon, Hanging the Head: Portraiture and Social Formation in Eighteenth-Century England, Yale University Press, 1993, pp.278 (paperback version issued 1997)

K. Adler and M. Pointon eds., The Body Imaged: Representation and the Human Body since the Renaissance, Cambridge University Press, 1993 (with contribution by Pointon: introd. and pp. 175-189), pp. 214

M.Pointon, Naked Authority: The Body in Western Painting 1830-1906, Cambridge University Press, 1990, pp. 160

M. Pointon ed. Pre-Raphaelities Re-viewed, Manchester University Press, 1989 (with contributions by Pointon: introd. and two chapters), pp. 168

M. Pointon, Mulready, Victoria and Albert Museum, 1986, pp. 184

M. Pointon, Bonington, Francia and Wyld, Batsford Books in association with the Victoria and Albert Museum, 1986, pp. 191

M. Pointon, The Bonington Circle: English Watercolour and Anglo-French Landscape, 1790-1855, The Hendon Press, 1985, pp. 164

M. Pointon, History of Art: A Students’ Handbook, Allen & Unwin, 1980; new and revised edn. 1986; new and revised edn. Routledge, 1993, pp. 118, further new and revised edition 1997, pp. 130; fifth edition fully revised and with a new chapter on careers, pp. 162, 2014 (see also translations)

M. Pointon,William Dyce RA 1806-64. A Critical Biography, Oxford University Press, 1979, pp. 229

M. Pointon, Milton and English Art, Manchester University Press, 1970, pp.276

Articles in Scholarly Journals

‘Casts, Imprints and the Deathliness of Things: Artefacts at the Edge’, Art Bulletin, June 2014, pp. 170-195

‘Material Manoeuvres: Sarah Churchill, Duchess of Marlborough and the Power of Artefacts’, Art History, 32:3 June 2009, 485-515

‘Liaisons Dangereuses: Buttons, button holes and the materials of masculinity in eighteenth-century England’,Russian Fashion Theory - Russian version, June 2010

‘Liaisons Dangereuses: Buttons, button holes and the materials of masculinity in eighteenth-century England’, Russian Fashion Theory - English language version

The Lives of Kitty Fisher, British Journal for Eighteenth-Century Studies, 27:1, Spring 2004, pp. 78-97

‘“Surrounded with Brilliants”: Miniature Portraits in Eighteenth-Century England’, Art Bulletin, LXXXIII, no. 1, March 2001, pp. 48-71

‘Valuing the Visual and Visualising the Valuable: Jewellery and its Ambiguities’, Cultural Values, 3:1, January 1999, (1362-5179), pp. 1-27

‘Funerary and Sexual Topographies: the Death and Commemoration of Diana Princess of Wales’, F. Mort and L. Nead, eds., ‘Sexual Geographies’. special edn. of New Formations, Spring 1999:37, (0950-2376/085315-8967) pp. 114-129

‘Intriguing Jewellery: Royal Bodies and Luxurious Consumption’, Textual Practice, 11 (3), winter 1997 (0950-236x) , pp. 494-516

‘Quakerism and Material Culture’, Art History, September 1997, pp. 397-431

‘Shakespeare, Portraiture and National Identity’ in Shakespeare Jahrbuch, 1997, Band 133 pp. 29-53

‘Pricing or Prizing Potential in the 1990s’, Art Bulletin , March 1997, pp. 17-20

'Graces, Bacchantes and “Plain Folks”: Order and Excess in Reynolds’s Female Portraits, British Journal for Eighteenth-Century Studies, 17:1, Spring 1994,pp.1-26

‘“A Latter-Day Siegfried”: Ian Botham at the National Portrait Gallery in 1986’. New Formations, winter. 1993, pp. 131-145

‘Imaging Nationalism in the Cold War: the Foundation of the American National Portrait Gallery’, Journal of American Studies, 26, 1992, pp. 358-375

‘Turner: Language and Letter’, Art History, Dec. 1987, pp. 467-474

‘Interior Portraits: Women, Physiology and the Male Artist’, Feminist Review, Spring 1986, pp. 5-22

‘“Vous êtes roi dans votre domaine”: Bonington as a painter of Troubadour Subjects’, The Burlington Magazine, Jan. 1986, 8 pages

‘From Blind Man’s Buff to Le Colin Maillard’: Wilkie and his French Audience’, Oxford Art Journal, viii,1,1984, pp. 15-25

‘Portrait Painting as a Business Enterprise in London in the 1780s’, Art History, June 1984, pp. 187-205

‘Artemesia Gentileschi’s The Murder of Holofernes’, American Imago, 38, 4, winter 1981, pp. 242-367

‘Voisins et Alliés: the French and the British at the Exposition Universelle of 1855’, Journal of European Studies, XI, 1981, pp. 233-261

‘The Benefits of Patronage: A Study of William Mulready and Two of his Patrons’, Gazette des Beaux-Arts, Sept. 1980, pp. 75-84

‘William Mulready and the Art of Pictorial Narrative’, The Burlington Magazine, April 1980, 10 pages

‘Gainsborough and the Landscape of Retirement’, Art History, Dec. 1979, pp.441-455

‘Painters and Puglism in Early Nineteenth-century England’, Gazette des Beaux-Arts, XCII, Oct. 1978, pp.132-140

‘The Representation of Time in Painting: A Study of William Dyce’s Pegwell Bay’, Art History, I, March 1978, pp. 99-103

‘William Mulready’s The Widow: A Subject “Unfit for Representation”’, The Burlington Magazine, CXIX, May 1977, 8 pages

‘William Dyce as a Painter of Biblical Subjects’, The Art Bulletin, June 1976, pp.260-268

‘W.E. Gladstone as an Art Patron and Collector’, Victorian Studies, XIX, 1, Sept. 1975, pp. 73-98

‘Keats, William Hilton and Joseph Severn: Notes on a Dispute’, Notes and Queries, Feb. 1973, pp. 49-54

'The Italian Tour of William Hilton RA in 1825, Journal of the Warburg and Courtauld Institutes, 1972, pp. 339-358

Articles in Other Journals and Exhibition Catalogues
‘Heads You Win: Frank Auerbach and the Question of Portraiture’, Women’s Art Magazine, Jan/Feb 1993, pp. 14-17

‘William Mulready’s Drawings’, Watercolours and Drawings, Autumn 1986,

pp. 9-13

‘What is History of Art ?’, History Today, Nov 1985, pp.45-47

Chapters in Edited Books

‘Accessories as Portraits and Portraits as Accessories’ in Eva=Bettina Krems and Sigrid Ruby eds., Das Portråt als Kulturelle Praxis, Marburg: Deutscher Kunstverlag, 2016, pp. 45-59

‘The Portrait Miniature as an intimate object’ in B. Pappe, J. Schmieglitz-Otten and G. Walczak eds.,European Portrait Miniatures, Petersberg: Micahel Imhof Verlag, 2013, pp. 16-26.

‘Slavery and the Possibilities of Portraiture’ , an essay by Marcia Pointon, in Agnes Lugo Ortiz and Angela Rosenthal eds., Slave Portraiture in the Circum Atlantic World 1630-1890, CambridgeUniversity Press, 2013

‘The cultural meanings of jewelry’ in Damian Skinner, ed., Contemporary Jewelry in Perspective, New York: Lark Books, 2013, (978-1-4547-02771-1), pp. 195-201.

‘The art of Louis Francia’ in Barbara Forrest and Marc Verdure eds., Petites et grandes histoires d’ici et d’ailleurs. Calais, son territoire et ses artistes, Calais: Musée des Beaux Arts, 2011

‘“Charming Little Brats”:Sir Thomas Lawrence’s Portraits of Children’ inC. Albinson, P. Funnell, and L. Peltz, Thomas Lawrence: Regency Power and Brilliance , published by Yale University Press for the National Portrait Gallery, London and Yale Center for British Art, 2010, pp. 55-83 This book was awarded the multiple author prize by the Historians of British Art in 2011

‘Women and their Jewels in Eighteenth-century England’ in J. Bachelor and C. Kaplan eds., Women and Material Culture Palgrave, 2007, pp. 11-30.

‘National identity and the afterlife of Shakespeare’s portraits’ in T. Cooper ed., Searching for Shakespeare, London: National Portrait Gallery, 2006, pp. 217-225

‘A Woman Weeps: Hogarth’s Sigismunda (1759) and the Aesthetics of Excess’ in P. Gouk and H. Hills, eds., Representing Emotions, Basingstoke: Ashgate 2005

‘Sacred Contagion: Secular Jewellery and Votive Transvaluation at the Santa Casa, Loreto, 1720-1820’, in C. Van Eck and E. Winters eds., Dealing with the Visual, Basingstoke: Ashgate, 2005

‘”Portrait ! Portrait!! Portrait !!!” ‘ in D. Solkin, ed., Art on the Line, New Haven and London: Yale University Press, 2001

‘James Cox’s Museum’, C. Goodwin, N de Marchi and A. Wharton eds., Economics and Art History, special edition of History of Political Economy, Duke University Press, 2000

‘Materialising Memory’ in C. Breward and M. Kwint eds., Material Memories, Oxford: Berg, 1999

‘“These Fragments I have Shored against my Ruins”’, in K. Lippincott, ed., The Story of Time, London: Merrell Holberton and the National Maritime Museum, 1999 (1 85894 073 7), pp. 198-201

‘Jewellery in eighteenth-century England’, in M. Berg and H. Clifford eds., Consumers and Luxury: Consumer Culture in Europe 1650-1850, Manchester: Manchester University Press, 1999 (0 7190 5273 4 / 07190 5274 2), pp. 120-146

‘Wearing Memory: Mourning, Jewellery and the Body’ in G. Ecker, ed., Trauer Tragen - Trauer Zeigen. Inszenierungen der Geschlechter, Munich: Fink Verlag, 1999, pp. 65-81

‘Intrigue, Jewellery and Economics: Court Culture and Display in England and France in the 1780s’ in D. Ormrod and M. North eds., Art Markets in Europe 1400-1800, Aldershot: Ashgate, 1999, (1-84014-630-3) pp. 201-219

‘Money and Nationalism’ in G. Cubitt ed., Imagining Nations, Manchester University Press, 1998 (07190 5115 0/07190 5460 5), pp. 229-254

‘Bureau de No Change: Geldscheine und ihre konstruktion nationaler identität’, A. Schudy ed., Funfzig Jahre DM, Berlin: Elefanten Press, 1998,(3-88520-701-x) pp. 42-53

‘The fascination with this rendez-vous does not diminish …’ (on Manet’s Dejeuner sur l’Herbe ) in Paul Hayes Tucker, ed., Manet’s ‘Le Déjeuner sur l’Herbe,’ Cambridge University Press, 1998, (0521-47466-3/0521-47984-3)pp. 152-166

‘Geology and Landscape Painting in nineteenth-century England’ in L.J. Jordanova and R. Porter eds., Images of the Earth, Oxford: British Society for the History of Science, (1979) second revised and enlarged edition, 1997, pp. 93-123

‘La fondation de la National Gallery: intention et adaptation’ in E. Pommier ed., Histoire de l’Histoire de l’Art, Conferences et Colloques du Louvre,Paris: Klincksieck, 1997, pp. 197-219

‘Picasso’s Kahnweiler: Kahnweiler’s Picasso’, in J. Woodall ed., Portraiture: Facing the Subject, Manchester: Manchester University Press, 1997, pp. 189-202

‘Pugilism, Painters and National Identity in Early Nineteenth-Century England’ in D. Chandler, ed., Boxer: An Anthology of Writings on Boxing and Visual Culture, London: Institute of International Visual Arts, 1996, pp.34-41

'Representing The Tempest in the Boydell Gallery ’ in W. Pape and F. Burwick, eds., The Boydell Shakespeare Gallery, Bottrop: Peter Pomp, 1996, pp.103-111

‘Paula Rego’ in I. Christie and P. Dodd, eds., Spellbound, Hayward Gallery, London and British Film Institute, 1996, pp. 109-115; reprinted in Paula Rego. New Work, Marlborough Gallery Inc., New York, 1997

'Allegorizing Portrayal and Portraying Allegory: Reynolds’s ‘Three Ladies Adorning a Term of Hymen’ in S. Schade, M.Wagen and S. Weigel eds., Allegorien und Geschlechter-differenz, Koln, Weimar and Wien:Bohlau, 1995,


‘Killing Pictures’ in J. Barrell, ed., Painting and the Politics of Culture, Oxford University Press, 1993. pp. 39-72

‘Aesthetic and Commodity: an Examination of the Function of the Verbal in Turner’s Artistic Practice’ in A. Marwick, ed., The Arts, Literature and Society, Routledge, 1991,

‘Aesthetic and Commodity: an Examination of the Function of the Verbal in Turner’s Artistic Practice’ in S. Pugh, ed., Reading Landscape. Country-City-Capital, Manchester University Press, 1990, pp. 81-96

‘The Politics of Portraiture: the Founding of the American National Portrait Gallery in 1968’ in W. Vaughan ed., Art and Revolutionary Social Change, Strasbourg, 1989, CIHA Proceedings, 13 pages

Foreword to Henry Scott Tuke by K. Dinn and D. Wainwright, Sarema Press, 1989, 2 pages

‘Louis Francia en Angleterre’ in P. Le Nouëne, ed., Louis Francia, exhibition cat. Calais, 1988, pp.29-40

‘On Reading Rowlandson’s Vicar of Wakefield’ in J. Moller ed., Imagination on a Long Rein: English Literature Illustrated, Marburg: Jonasverlag, 1988, pp.110-119

‘Liberty on the Barricades: Politics, Power and the Erotic in Delacroix’, in S. Reynolds, ed., Women, State and Revolution in Europe 1790-1986, Harvester Press, 1986, pp. 25-43

‘Art History and the Undergraduate Syllabus: Is it a Discipline and How should we Teach it ?’ in A.L. Rees and F. Borzello, eds., The New Art History, Camden Press, 1986, pp. 147-156 (first pub. THES, Nov. 1984)

‘Problems of Identity, Definition and Analysis in Early Nineteenth-Century French Watercolour Painting’, in J. White ed., Probleme und Methoden der Klassifizierung, Vienna, CIHA Proceedings, 1983, pp.99-103

‘“Voisins et Allies”: the French Critics’ View of the English Contribution to the Beaux-Arts Section of the Exposition Universelle in Paris in 1855’ in F. Haskell ed.,'Arte …, Bologna, Proceedings of CIHA, 1981, pp. 115-122 Saloni, Gallerie, Musei e Loro Influenze sullo Sviluppo dell

‘Romanticism in English Art’ in S. Prickett, ed., The Romantics: the Context of English Literature, Methuen, 1981, pp. 77-114

‘Urban Narrative in the Early Art of William Mulready’ in F.S. Schwarzbach and I.B. Nadel eds., Victorian Artists and the City, Pergamon, 1980, pp. 126-141

‘Geology and Landscape Painting in Nineteenth-Century England’ in L.J. Jordanova and R. Porter eds., Images of the Earth: Essays in the History of the Environmental Sciences, British Society for the History of Science, 1978, pp. 84-108 (re-issued in 1997)

Translations into Languages other than English

‘Paula Rego’ in R. Rosengarten ed., Compreender Paula Rego: 25 perspectivas, Porto Alto: Colecção de Arte Contemporãnea Publico Serralves, 2004

‘Kunst und Geld’ in 50 Jahre D-Mark, ed. S. Welter, Marburg: Landesarbeitsgemeinschaft der Kulturinitativen und soziokulturellen Zentren in Hessen e.V. (LAKS), 1997

History of Art: A Students’ Handbook, 15 May 1995, Japanese transl. pub. Skydoor, Tokyo; 1998 S. Korean translation

Two chapters of Naked Authority … in B. Söntgen, Rahmenwechsel. Kunstgeschichte als Kulturwissenschaft in feministischer Perspektive, Berlin: Akademie Verlag, 1997

Forthcoming Works by Marcia Pointon

Rocks, Ice and ‘Dirty Stones’ : Diamond Histories - Reaktion Books, March 2017

'Enduring Characteristics and Unstable Hues: Men in Black in French Painting in the 1860s and 1870s, Art History, June 2017.

‘The Importance of Gems in the Work of Peter Paul Rubens 1577-1640’ in Ben van der Bercken et al eds., From cylindar seals to the dactylotheca … Papers from the conference at the Rijksmuseum van Oudeheden, 2016 to be published 2017 by the Rijksmuseum

‘“Send no Lasks”: good and bad diamonds in seventeenth-century Europe’ in Michael Bycroft and Sven Dupré, Gems in the Early Modern World: Materials, Values and Knowledge in Transit, Palgrave MacMillan, 2018

Recent Lectures and Events Upcoming

Events forthcoming 2016

19 February conference 'Signs and Symbols: Dress at the intersection between image and realia, Humboldt University, Berlin, paper ‘Enduring characteristics and unstable hues: men in Black in French painting in the 1860s and 1870s’.

6 April, Public lecture Frick Museum, New York City, ‘Why Portraiture?’

7 April, lecture Yale University History of Art Dept., ‘Rubens and Precious Stones’

3-4 November Rijksmuseum van Oudheden, Leiden, ’ Rubens as a collector of gems’, conference paper

Events forthcoming 2015

15 May, Wallace Collection/Paul Mellon Centre, Sir Joshua Reynolds, Experiments in Paint conference, paper on finish and unfinish in Reynolds’s portrait of Countess Schaumburg Lippe (?)

18-19 May, University of Warwick, paper at workshop ‘Gems in Transit: Materials, Techniques and Trade from the 16th to the 18th centuries’, paper: ‘Send no lasques: good and bad diamonds in early modern Europe’

28-30 May, University of York, keynote lecture at Disseminiating Dress conference: ‘Men in Black: portraiture and male fashion in Paris 1860-80.’

23 November, research paper University of York Dept. of History of Art, Degas portraits

12 December, paper Courtauld Institute of Art conference ‘Art History 40 - forty years of art-historical writing’

Events forthcoming 2014

21-22 November, with Lisa Skogh (V&A) Materials Ad Vivum: Agate and Ivory in the Kunstkammer, Ad Vivum conference, Courtauld Institute of Art, London

8-9 May, paper ‘Accessorizing Susanna’ at the conference (Un)dressing Rubens : Fashion and Painting in seventeenth-century Antwerp, Rubenianum, Antwerp

22-23 May - lecture and seminar University of Stockholm school of fashion studies

26-27 May lecture and workshop Uppsala University.

Events forthcoming Autumn 2013

Colloquium organiser (with Viccy Coltman, Edinburgh University) of Portraiture and Materiality collquium, Clark Art Institute, Williamstwon, MA.

Lectures and Research Papers forthcoming Summer 2012-Spring 2013

25 May 2012 ‘Imprints and Affectivity’ at conference ‘probing the Interior’, Courtauld Institute of Art, London.

21-23 November 2012 ‘The Diamond Engagement Ring and the Relativity of Luxury’, at conference ‘Le Commerce du Luxe - Le Luxe du Commerce’, Lyon, Musées Gadagne.

3-8 December 2012 University of Ioannina, Greece, seminar ‘Travelling/Writing Jewels’ and lecture on portraiture.

10 January 2013 Public lecture at National Portrait Gallery, London: Portraits as Accessories and Accessoried in Portraits.

21 January UCL Early Modern seminar - paper on death masks

25-27 January 2013 Paper at International symposium of the Tansey Collection of Miniatures, Residenzsmuseum, Celle.

13 February 2013 Talk ‘The skull in the studio’ at Art and Death workshop. King’s College, London.

March 2013 Australia - ANU Canberra; Toulouse-Lautrec and Portraiture Masterclass National Gallery, Canberra, 20 March; Power Institute Sydney and elsewhere.

18-19 October 2013 Colloquium Sterling and Francine Clark Art Institute USA

Lectures and Research Papers forthcoming Autumn 2011-Spring 2012

13 October, research seminar, ‘The Skull in the Studio: Self-Portraiture and Mortality’, University College London.

8 November, lecture ‘Portraits as Acessories and Accessories in Portraits’, Birkbeck College, University of London.

3 December, keynote lecture ‘Casts, Masks and Relics’, conference on Materials of Mourning, Centre for Modern Studies, University of York.

18 January 2012 research paper, Institute for Historical Research, University of London, Psychoanalysis and History seminar

1 February 2012 workshop on portraiture University of Edinburgh

Lectures and Research Papers delivered Spring-Summer 2011

18 February 2011, National Portrait Gallery, London, AHRC ‘Likeness and Facial Recognition’ Workshop

22nd-25th February, British Art Centre, Yale University

12,13,14 April, lectures at the University of Stockholm Centre for Fashion Studies

29 April 2011, Scottish Gemmological Association, Perth, keynote address

11th June, University of York, Centre for Eighteenth-century Studies, paper on Sarah Churchill, Duchess of Marlborough at ‘The Portrait and the Country House’ conference

23-25 June 2011, keynote lecture, Marburg University, conference on ‘Portraiture: Moblisation and Consolidation’. Working title: 'Why details matter: accessories in portraits and portraits as accessories

Lectures and Research Papers 2010

4-6 March 2010, ‘Portraiture and Sickness’ , talk at conference ‘The Return of the Artist: Themes and Positions of Current Artists’/Women Artists’ Studies’, Vienna: Universitåt für Angewandte Kunst

21 May 2010, Stockholm National Museum, 'The Skull in the Studio: Portraiture, Self portraiture and Mortality

24 September 2010, University of Cambridge, Dept. of History of Art, conference: The Representation of Adolescence in Early Modern Europe, ‘Thomas Lawrence’s Teenagers’

18-19 November 2010, Paul Mellon Centre for Studies in British Art, London, conference on Sir Thomas Lawrence, ‘Thomas Lawrence’s Teenagers’

Qualifications, Distinctions and Employment History


Doctor of Letters, University of Manchester

Ph.D. University of Manchester, The Life and Work of William Dyce,RA

MA by thesis, University of Manchester, Milton and English Art

BA Hons. in English and History of Art, class I, University of Manchester
Secondary education - Ackworth School (Society of Friends)


Professor Emerita, The University of Manchester
Research Fellow, Courtauld Institute of Art, University of London
Honorary Professor, University of Brighton


Pilkington Professor of History of Art, University of Manchester;
Research and Graduate Dean, Faculty of Arts (1999-2002)

Professor of History of Art, University of Sussex

Reader in History of Art, University of Sussex

Lecturer in History of Art, University of Sussex

Research Fellow, Barber Institute of Fine Arts, University of Birmingham

Lecturing in History of Art for the University of Sheffield Department of Extramural Studies

Recent Research Grants and Awards

2014-16 Leverhulme Emeritus Fellowship
2011 Paul Mellon Centre for Studies in British Art, author’s grant
2008 Leverhulme Research Fellow, National Portrait Gallery, London
2006 Senior Research Fellow, Paul Mellon Centre for Studies in British Art
2005 Fellowship Getty Research Centre, Los Angeles
2004 Fellowship, Yale Center for British Art
2004 Visiting Fellow, Clark Art Institute, Williamstown, MA

Sample My Work - See also section ARTICLES for pdfs

Contents page of my Brilliant Effects
[click to view the contents page]

Review of Brilliant Effects
[ciick to download]

‘The Lives of Kitty Fisher’, British Journal for Eighteenth-Century Studies, 27:1, Spring 2004, pp. 78-97
[click to download a PDF file]

‘Material Manoeuvres: Sarah Churchill, Duchess of Marlborough and the Power of Artefacts’, Art History, 32:3 June 2009, 485-515
[click to download a PDF file]

‘Liaisons Dangereuses: Buttons, button holes and the materials of masculinity in eighteenth-century England’, Fashion Theory - Russian version, June 2010
[click to download a PDF file]

‘Liaisons Dangereuses: Buttons, button holes and the materials of masculinity in eighteenth-century England’, Fashion Theory - English language version
[click to download a PDF file]

‘Casts, Imprints and the Deathliness of Things: Artefacts at the Edge’
[click to download a PDF file]