My research considers eighteenth-century pastel painting through the prism of movement. In 1747 La Font de Saint-Yenne wrote that the number of contemporary artists working in pastel was ‘infinite’. Later scholars have located more than 2,500 artists and amateurs at work in mid-eighteenth-century Paris alone, yet many of the most prolific pastellists were marked out by the itinerancy of their practice. Artists such as Jean-Etienne Liotard, Jean-Baptiste Pillement and Jean-Baptiste Perronneau worked across the length and breadth of Europe: at the courts of London, Vienna and Saint Petersburg; in commercial centres such as Amsterdam, Geneva and Lyon. Their paths can be traced through correspondence, autobiography and contemporary accounts, as well as archives, criticism and inventories. Above all, the pastels themselves bear compelling witness to this itinerancy.
Rather than a monographic or chronological approach, I am conducting a synchronic analysis of this itinerant pastel practice, by the cities and circuits in which these artists worked. By acknowledging the circumstances and geography of facture, my research examines the effect of those circumstances on facture: what appeal did pastel hold for the patrons of a given city, what did these different geographies offer the pastellist, and how might the pastellist adapt his product to suit the demands of a particular market? My research foregrounds the pastel medium. Broader social, economic and cultural histories are combined with close analysis of the works themselves. Thus a case-study of Liotard and Perronneau in London calls not only on their differing experiences in the city – courtly versus commercial environments, exoticism versus xenophobia – but also on their different material practices. A chapter on Vienna addresses the Empress’s love of pastel through the works she commissioned and the distinct material possibilities pastel had in that city (Pillement’s eighteen blue pastel landscapes, worked in a half-wet, half-dry technique, are probably the most striking example of an application totally different to that found in France).
2012-2013, boursière working on the annual theme of "movement"
2011-present, PhD candidate, supervised by Dr. Katie Scott
2009-10, MA in the History of Art (Distinction)
2006-2009, MA Hons English (2.i)
Review of “Le Mexique au Louvre / Mexican Art at the Louvre: Chefs-d’oeuvre de la Nouvelle Espagne, XVIIe et XVIIIe siècles,” for BSECS, British Society of Eighteenth-Century Studies (April 2013). http://www.bsecs.org.uk/reviews/reviewdetails.aspx?id=112&type=2
“André Derain’s Trees by a Lake: Le Parc de Carrières-Saint-Denis,” report for The Courtauld Collections: Conservation and Historical Analysis, Works from The Courtauld Gallery Project (August 2012). http://www.courtauld.ac.uk/researchforum/projects/collecting-collections/2012.shtml
Review of “The Comte de Vaudreuil: Courtier and Collector,” for BSECS, British Society of Eighteenth-Century Studies (June 2012). http://www.bsecs.org.uk/Reviews/ReviewDetails.aspx?id=42&type=2
"Drawing Distinctions: Jean-Etienne Liotard in Constantinople and Vienna," immediations, vol. 2, no. 4 (2011).
"Young Woman in Turkish Costume Playing the Tambourine," in Pastel Portraits: Images of Eighteenth-Century Europe, Metropolitan Museum of Art Bulletin, vol. 69, no. 1 (Summer 2011).
"The Eighteenth-Century Pastel Portrait," in Heilbrunn Timeline of Art History. New York: Metropolitan Museum of Art, 2010. http://www.metmuseum.org/toah/hd/papo/hd_papo.htm
"Itinerant Pastellists: Movement and Methodology," Rencontres Franco-Britanniques, Festival de l'Histoire de l'Art, Fontainebleau, June 2013.
"Pastellistes itinérants: Circuits du mouvement en Europe au dix-huitième siècle," Colloque international "Mouvement", Université Lyon II, May 2013.
“Viennese Fancies: Three Pastellists at the Court of Empress Maria-Theresa,” Early Modern Research Seminar, Courtauld Institute of Art, London, March 2013.
“Quacks, Peddlers and Pastellists: Jean-Etienne Liotard and Jean-Baptiste Perronneau in London,” Historians of Eighteenth-Century Art and Architecture New Scholars Session, College Art Association Annual Conference, New York, February 2013.
Co-organized Art and its Afterlives, The Fourth Annual Early Modern Symposium, Courtauld Institute of Art, London, November 2012.
“André Derain’s Trees by a Lake: Le Parc de Carrières-Saint-Denis,” Conversation and Art Historical Analysis: Works from The Courtauld Gallery, Research Forum, Courtauld Institute of Art, March and June 2012.
“Behind the Scenes at the Museum,” Rivertowns Arts Council, New York, March 2011.
“Pretty Woman: Portraits of Women in Eighteenth-Century France,” The Metropolitan Museum of Art, New York, July 2010.
Research Associate, The Courtauld Gallery, working on André Derain's Le Parc de Carrières-Saint-Denis (January-June 2012).
Early Modern Section Assistant (January-June 2012).