Enfilade

‘Part of the Interior of the Elephanta’, from Thomas and William Daniell, Antiquities of India, Oriental Scenery, aquatint, 1795.

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From the Paul Mellon Centre:

Graphic Landscape: The Landscape Print Series in Britain, 1775–1850
Online, Paul Mellon Centre and the British Library, 2, 4, 9, 11 November 2021

Organized by Mark Hallett and Felicity Myrone

Graphic Landscape: The Landscape Print Series in Britain, 1775–1850 is a four-day programme of online webinars taking place between 2 and 11 November 2021, presented jointly by the Paul Mellon Centre for Studies in British Art and the British Library.

Landscape and topographical print series proliferated in the late eighteenth century and in the first decades of the nineteenth century. Indeed, the format seems to have enjoyed an artistic and commercial boom in this period. Some examples of these series, such as Turner’s Liber Studiorum (1807–19) and Constable’s English Landscape Scenery (1830–33), are extremely well known. Many others, however, have still to receive sustained and critical attention. This programme of four online seminars is designed to look afresh at the late Georgian and early Victorian landscape print series and to stimulate new research on this important strand of graphic art. Participants will bring a wide range of perspectives to bear on the topic and address works in a variety of graphic media.

Graphic Landscape: The Landscape Print Series in Britain, 1775–1850 is co-convened by Mark Hallett at the Paul Mellon Centre and Felicity Myrone at the British Library.

Additional information—including paper abstracts, speaker biographies, specific times, and registration links—can be found here.

T U E S D A Y ,  2  N O V E M B E R  2 0 2 1

Day 1 | 12.00–14.00

12.00  Print, Politics, and Industrialisation
•  Introduction by Mark Hallett (Director, Paul Mellon Centre) and Felicity Myrone (Lead Curator, Western Prints and Drawings, British Library)
• Amy Concannon (Senior Curator, Historic British Art, Tate), ‘A Captur’d City Blazed’: Printmaking and the Bristol Riots of 1831
• Lizzie Jacklin (Keeper of Art, Tyne & Wear Archives & Museums), Mining Landscapes: Thomas Hair’s Views of the Collieries
• Morna O’Neill (Associate Professor of Art History, Art Department, Wake Forest University), John Constable, David Lucas, and Steel in English Landscape

T H U R S D A Y ,  4  N O V E M B E R  2 0 2 1

Day 2 | 12.00–14.00

12.00  Print and Property
•  Introduction by Richard Johns (Senior Lecturer in History of Art at the University of York)
•  John Bonehill (Lecturer, History of Art, University of Glasgow), Picturing Property: The Estate Landscape and the Late Eighteenth-Century Print Market
•  Kate Retford (Professor of Art History, Birkbeck, University of London), Views of the Lakes at the Vyne
•  James Finch (Assistant Curator, 19th-Century British Art, Tate Britain), Amelia Long’s Views from Bromley Hill

T U E S D A Y ,  9  N O V E M B E R  2 0 2 1

Day 3 | 12.00–14.00

12.00  Revisiting the Canon
• Introduction by Cora Gilroy-Ware (Associate Professor, History of Art, University of Oxford)
• Greg Smith (Independent Art Historian), Engaging with the Voyage Pittoresque de la France: Thomas Girtin’s Picturesque Views in Paris and Their Appeal to the ‘Most Eminent in the Profession’
• Timothy Wilcox (Independent Scholar), John Sell Cotman’s Architectural Antiquities of Normandy: A Catastrophic Miscalculation?
• Gillian Forrester (Independent Art Historian, Curator and Writer), A Glossary for the Anthropocene? Turner’s Liber Studiorum in the Era of Climate Change

T H U R S D A Y ,  1 1  N O V E M B E R  2 0 2 1

Day 4 | 14.00–16.00

14.00  A Wider View: From Collaboration to Empire
• Introduction by Mark Hallett (Director, Paul Mellon Centre) and Felicity Myrone (Lead Curator, Western Prints and Drawings, British Library)
• Sarah Moulden (Curator of 19th-Century Collections, National Portrait Gallery), Creative Collaboration: Cotman’s Norfolk Etchings
• Eleanore Neumann (PhD Candidate, University of Virginia), Translating Topography: Women and the Publication of Landscape Illustrations of the Bible (1836)
• Alisa Bunbury (Grimwade Collection Curator, Ian Potter Museum of Art, University of Melbourne), Taken From Nature: Printed Views of Colonial Australia
• Douglas Fordham (Professor of Art History, University of Virginia), Travel Prints or Illustrated Books?