History of Art

This funded 3-year doctoral project provides the opportunity to feed directly into planned new displays and bring art historical research to new audiences.The studentship will be based at the University of Warwick and is a collaboration with Birmingham Museums Trust (BMT). The project is supervised by Professor Louise Bourdua and Dr Rosie Dias in the History of Art department and Dr Rebecca Bridgman, Curatorial and Exhibitions Manager at BMT.

We are delighted to report that Maialen Maugars will begin her doctorate in October 2020.

email: l.bourdua@warwick.ac.uk

In this book, Louise Bourdua examines how Franciscan church decoration developed between 1250 and 1400. Focusing on three important churches - San Fermo Maggiore, Verona, San Lorenzo, Vicenza and Sant'Antonio, Padua - she argues that local Franciscan friars were more interested in their own conception of how artistic programs should work than merely following models for decoration issued from the mother church at Assisi. In addition, lay patrons also had considerable input into the decoration programs. These case studies serve as a multiform model of patronage, which is tested against other commissions of the Trecento.

Louise BOURDUA
The «Discovery» of the Trecento in the Long Nineteenth Century. Introduction
Sam SMILES
The Fate of the Manetti Chapel and the Reception of Trecento Art in Britain, 1770s to 1890s 
Anita F. MOSKOVITZ
Discovering the Trecento: American Mavericks in the Market. Who, Where, Why, and Why Not
Corina MEYER
Working on «Depth of Thought» and «Serious Gravity»
Corentin DURY
Evariste Fouret (1807-1863): A French Collector, Amateur and Connoisseur of Trecento Painting
Julia M. NAUHAU
Bernhard August Von Lindenau’s Collection of Early Italian Panel Paintings
Paul TUCKER
Trecento «Characteristic» and «Grotesque»: Frederic Burton, Charles Fairfax Murray and Early Sienese Painting in the National Gallery 1874-94
Martina BECATTINI
La Stanza del Trecento nel Museo Stibbert di Firenze
Laura FENELLI
Le Campora, 1908: Discovering a Trecento Fresco Cycle
Hayley FLYNN
Dante’s Topographer: William Blake’s Illustrations to the Divine Comedy
Kathleen McLAUCHLAN
A Problematic Attraction: French Artists and the Primitive at the French Academy in Rome
Antonella BELLIN
Carl Blaas e i Nazareni a Roma
Alan CROOKHAM
Another Piece of the Mosaic.  Trecento Influences on The Albert Memorial
Laura LOMBARDI
La riscoperta della tradizione medioevale nella scultura francese dopo il 1870. «Les véritables origines de la Renaissance»
Lyrica TAYLOR
«My Beloved Masaccio and Giotto and All The Rest of the Blessed Company»: Winifred Margaret Knights and the Rediscovery of the Trecento in the Long Nineteenth Century
Elisa CAMPOREALE
In Homes and Novels: Early Italian Pictures in England from Early Nineteenth to Early Twentieth Century
Assunta DE CRESCENZO
Foscolo’s Parallel Between Dante and Petrarch: A Perfect Harmony of Contrasts
Roberto RISSO
«Sotto il sembiante d’una pacata mestizia…». La cacciata del Duca d’Atene dal Medioevo all’Ottocento fra cronaca, affresco, narrazione e pittura
Chiara MORICONI
Dante Gabriel Rossetti's Salutatio Beatricis: Tradition as Translation
Marie TAVINOR
John Ruskin: A New Saint Francis of Assisi? Ruskin’s Critical Reception in Italy and The Origins of the ‘Renaissance’
Lynn CATTERSON
American Collecting, Stefano Bardini & the Taste for Trequattrocento Florence
Robert GIBBS
A 21st-Century Invention of a 19th-Century Giotto Revival: The ‘Stendhal Syndrome’

Based on a reappraisal of the documentation, this essay explores aspects of space and function in both the church and convent of Saint Anthony from c. 1263 until 1310. It seeks to understand who had jurisdiction and access over certain areas such as chapels, altars and conventual spaces, paying particular attention to the access of women.