91��Ƭ��

Jo Apple

Sarah Wilson

Susie Nash

Sarah Wilson

Joanna Woodall

Gavin Parkinson and Matthew Gale

Christine Stevenson and Emily Howe

Caroline Arscott

Christopher Green

Guido Rebecchini

Caroline Arscott

Sussan Babaie

David Peters Corbett

Gavin Parkinson

Aviva Burnstock

Alixe Bovey and Susie Nash

Nicolas Bock and Guido Rebecchini

Mirabilia depicta: image and imagination in the anglo-saxon wonders of the east’
Dr. John Lowden and Dr. Alixe Bovey

Gecko-inspired Dry Adhesives: Evaluating their Applicability to the Conservation of Cultural Heritage
Dr. Stephen Whiteman

(Post)Soviet Art in the Era of Wild Capitalism, 1986 – 1996
Prof. Sarah Wilson

Nicoletto da Modena and the centres of Italian Print Production c.1490-1522
Dr Scott Nethersole

Juan Guas and Gothic Architecture in Late Medieval Spain: Collaborations, Networks, Geographies
Dr Tom Nickson

Challenging the Legacies of the Olympics: Cultural Programmes of Mexico ‘68 and Moscow ‘80
Dr Klara Kemp-Welch

Altarpieces in Late Medieval Avignon: Case Studies in Patronage and Reception’
Dr Susie Nash

A Digital Disenchantment: Source Materials in Western Art after the 2008 Financial Crisis
Prof. Julian Stallabrass��

Rethinking Lorenzo di Pietro, known as Vecchietta (1410-1480)
Dr Scott Nethersole

‘Strength and Sinews ‘Haarlem Mannerism’ and the Emergence of a Dutch Body Politic, 1585-1595’
Prof. Joanna Woodall

‘Soviet book design and The World of Art circle 1917-1930’
Dr Klara Kemp-Welch

Patronage of a Prelate: The Religious Foundations of Cardinal Jean Rolin (1408-1483)
Dr Susie Nash

‘A treacherous mirror’: British commercial artists represent the United States. Case studies 1869–76.
Dr. Caroline Arscott

Lions and Sons: The Masculine Image in Qajar Iran (1789 – 1925)
Dr Sussan Babaie

Laurence Binyon and the Influence of Paterian Aestheticism, 1873-1915
Prof. David Peterscorbett

Artistic Patronage Networks in Fifteenth Century Florence: The Corbinelli and Gondi Altarpieces
Dr Scott Nethersole

Medieval Ivories at the British Museum: Formation of a Collection, c. 1800-1900
Dr John Lowden

Bosnia and Herzegovina: contemporary art from a post-conflict society
Dr Klara Kemp-Welch

Soviet Architecture of the 1920s and Western Europe: Separate Modernisms or an’ International Front of Modern Architecture’? The Case of Germany
Charlotte Milner

Public Purchases of Early Italian Paintings in Twentieth-Century Britain
Dr Scott Nethersole����

Repetition and Replication in Joshua Reynolds’s Studio Practice
Prof. Aviva Burnstock��and��Prof. David Solkin

Francis Bacon’s French Influence(s): From Surrealism to Post-structuralism
Dr Gavin Parkinson

John Ruskin, Walter Pater, Aestheticism
Prof. Caroline Arscott

Cultural Memory of Democratisation and Globalisation in East Asian Art
Prof. Julian Stallabrass

Materials and Techniques of Arthur Dove (1880–1946): Works on Paper and Selected Paintings, 1926–1946
Prof. Aviva Burnstock

From Perspective to Place: the Landscape Tableau in Paris, c.1680-1750
Prof. Katie Scott

Asger Jorn’s ‘folk’: Imagining ‘the people’ in wartime and postwar Europe 1941-1965
Dr. Gavin Parkinson

Hyper(in)visible. Art, Protest & Surveillance, 2011-16

Frontiers of Identity: The Vienna and Prague Satirical Press in Political Crossfire 1918-1938
Klara Kemp-Welch

The Shape of the Message’ in the Art of the Independent Group: A 91��Ƭ�� in the role of General Semantics and Non-Aristotelian Logic, 1950–1961
Dr. Gavin Parkinson

Commercial domination of English ecclesiastical mural painting 1860-1910: demand, supply, technology and significance
Giovanni Verri

Spiritual Provision and Temporal Affirmation: Tombs of Les Chevaliers de la Toison d’Or from Philip the Good to Philip the Fair
Prof. Susie Nash

Compilation and Communication: Esfir Shub and Soviet Cinema 1919-1949
Prof. John Milner

Léonce Rosenberg and the Galerie De L’Effort Moderne: A Syncretic View of French Art During The 1920s’
Prof. Christopher Green

Contested Bodies: Gender, Sexuality and the Legacies of the ‘Troubles’ in Visual Culture

English Decorative Vaulting: Design, Invention and Integration in Gothic Architecture c. 1300
Dr. Tom Nickson

Medium and Mediation: A History of Video Art in Israel
Prof. Sarah Wilson

Sex in Context: Sexual Art and Spectacle in the Roman World

Sex and Violence: A New Psychoanalysis of Art of the American AIDS Crisis
Prof. Mignon Nixon

Many Voices, Many Hands: Collaboration and Workshop Practice in Early Fourteenth-Century Illuminated Choir Books from Florence
Prof Joanna Cannon

The Montaged Environment: Painting Meets Photography On Show, From The 1930s Through The 1950s
Prof. Christopher Green

Altars and Altar Furnishings from the Kingdom of Castile, 1200-1350
Tom Nickson

The Image of the Child in Late-Medieval Flanders
Prof. Susie Nash

The Warsaw Group��Rytm��(1922-32) and Modernist Classicism
Prof. Gavin Parkinson

Weimar in Black and White: the woodcut in the work of Ernst Barlach and Lyonel Feininger in Germany, 1918-1927
Shulamith Behr

Collecting, reception & display of trecento & quattrocento Sienese paintings in Britain, 1850-1950’
Prof. Joanna Cannon��and Dr. Caroline Campbell

Latent Possibilities: Theories and Practices of Magic in Surrealist Discourse on the Object, 1929-1976

Stepping Out of the Shadows: Russian Women Artists on the Eve of, and During, the Great War
Prof. John Milner

Reception and Reorientation: The Impact of Internationally Traded Objects in Italian Art and Architecture (950-1150)

Canterbury Cathedral’s Choir Tapestry: Patronage, Production, History and Display

The lost Romanesque cathedral of Tortosa: 1148-1703

From Bayreuth to Burkina Faso: Christoph Schlingensief’s Opera Village Africa as contemporary Gesamtkunstwerk
Prof. Sarah Wilson

Pictorial Space and Sacred Subject Matter in Florentine Painting 1425-1466

Homi K. Bhabha’s Concept of National Identity and Contemporary ‘Indian’ Art

Schizophrenic Video: The Reception of Early Video Art in New York, 1969-1985

Prints in Play: Printed Games and the Fashioning of Social Roles in Early Modern Europe

Art, Community and Religious Women in the Oltrarno, Florence

Manifestations of Violence and Trauma Within Interwar Fashion, In London, Paris and New York

Non-structural lime-based injection grouts with reduced water content for decorated surfaces

‘A Watchlight for the Garden’: Stuart Ambassadors in English Garden History

Working as Caillebotte: Collecting, Ideology, and the Body in the French Third Republic
Dr. Satish Padiyar

Christ’s Miracles in Monumental Art in Byzantium and Serbia (1280-1330)

Decorative Plasterwork in England, 1660-1700: Form, Materiality and Making

Royal Wall Paintings in England in the Second Half of the Fourteenth Century

British Landscape Painting, 1945-1963

Anglo-Netherlandish Workshop Practice in the 1580s and early 1600s with a focus on the works of John de Critz the Elder and Marcus Gheeraerts the Younger
Prof. Aviva Burnstock

Prêt-à-Porter, Paris, and the Image of Women, 1945-1968

Beyond Futurism to Suprematism: Re-assessing Futurist Dialogues between Italy and Russia 1909-1915
Prof. John Milner

Documents of a Forgotten Network: The Loans to��Twentieth Century German Art, London 1938

Identities Contested: Contemporary Korean Art and its Exhibitions, 1961-1975

Monuments and Marriage in Late Medieval England: Origins, Functions and Reception of Double Tombs
��and��

The Sovereign Artist. Charles Le Brun and the Art of Absolutism, 1665-1679

A-Ya Magazine: Soviet Unofficial Art Between Moscow, Paris and New York, 1976-1986

Sedilia in Medieval England
��and��

Superare la natura: The Portraits of Jacopo Pontormo
��and��

Hans Feibusch between Germany and Britain: Patronage and the Public Sphere

The Fortunes of Fancy Painting in Eighteenth-Century England
��and��

Book Illumination in Milan around the Year 1000: The Prayerbook of Arnulph II (London, British Library, MS Egerton 3763) and Some Related Manuscripts

Imaging the Souls of the Blessed: Valenciennes, Bibliothèque Municipale, MS 500, Saint Amand, and the Parable of Dives and Lazarus, c. 835-1275

Stanhope A. Forbes: Constructing Newlyn, 1885-1911

Art of Engagament: Audience Participation and Contemporary Art

The Impact of Globalisation on Korean Contemporary Art since 1989

The chemical characterisation of water sensitive oil paint with a special focus on Winsor & Newton artists oil paints
Prof Aviva Burnstock

Framing the Armenian Genocide: Photography and the Revisualisation of the Ottoman Empire, 1878-1923

Cleaning Asian Wall Paintings: Constraints and Development of an Open-Source Image Analysis Workflow for In-Situ Evaluation of Topographical Surface Changes

Sound Art, Gender and the West-German Context

Russian Émigré Ballet and the Body: Paris and New York c.1920-50
Dr. Rebecca Arnold

Painting Identities in Fourteenth-Century Famagusta: Byzantine and Gothic Imagery in Saint George of the Greeks and Our Lady of the Carmelites

Salon Criticism of French Landscape Painting, 1855-1867

More than Documentation: Photography from the People’s Republic of Poland between 1965-1972

Affective Afterlives: Encountering ‘Ulrike Meinhof’ in Yvonne Rainer’s Journeys from Berlin/1971 (1980), Gerhard Richter’s October 18, 1977 (1988), and Silvia Kolbowski’s A Few Howls Again? (2010)

Niccolò Tornioloi: The Life and Times of A Sienese Painter in 17th Century Rome

Itinerant Pastellists: Circuits of Movement in Eighteenth-Century Europe

The Animal and the Edible in the Work of Joannes Fyt (1611-61)

Social Histories of the Last Judgement in Byzantine Art
Prof. Antony Eastmond

Towards an Anatomical Art History. Medieval Objects in the Shared Space between Art and Medicine

Alexander Archipenko and Cultural Exchange Between the Wars: From European Avant-Gardes to Avantgardism in the United States

The Management of the Urban Property Portfolio of the Societa s. Salvatore, Rome 1500-1526

Formalism, Aestheticism, and Art Writing in England, c.1918-1939

Engendering the New Soviet Child: The Representation of Children as Pioneer Citizens of the USSR in the 1920s and 1930s
Prof. John Milner

The ‘Patient’ City. The Works and Practices of Photographer Gabriele Basilico

Brushstrokes: Hair in the Work of Contemporary Women Artists

Country House Guide Books in the Late Eighteenth Century

Companionship and Collaboration: Rembrandt’s Pendant Marriage Portraiture

Sartorial self-fashioning: Dress in portraits commissioned by women, 1558-1762

Fort/Da: Unhomely and Hybrid Displacements in the Work of Ângela Ferreira, c. 1980-2008

The Samokov Archive: The perception of western art in icon-painters’ practice 1800-1850 in Bulgaria
Prof. Robin Cormack

Cistercian art and architecture in England during the late Middle Ages

Miseria Miseri Cordia Mascolinita: Italian Humanist Photography,��1932-1962

Distributed Aesthetics in the East Asian Net Creations

Mother of Pearl Carvings in the Fifteenth and Sixteenth Century

Collective Art: Politics and Authorship in 1960’s Western Continental Europe

Print Culture in Rome in the Age of Barberini

The Wrapped Body in the New Sculpture Movement (1880-1900)

Early Printmaking in Florence: Origins, Forms and Function
Prof. Patricia Rubin

The Female Doppelgänger in Victorian Art and Dress, c.1850-1899

Sculpted Sanguines: Edme Bouchardon as a Draughtsman

From Doctors of the Church to Visionary Saints: Recasting Augustine and Jerome in Tuscan Paintings of the Fifteenth Century
Prof. Patricia Rubin

Lucchese Patronage, 1400 to 1430
Prof. Patricia Rubin

The Image of the Artist, Paris 1815-1855
Prof. John House

Ribera’s Saints: Representing Body and Soul

Coloured glazes on silver leaf of the Baroque and Rococo period in Southern Germany and Austria (c.1600-1780)

Peredvizhniki, or the Wanderers: the social history of an artists’ movement in later nineteenth-century Russia

Modernist Musing in the shadow of Swadeshi
Prof Deborah Swallow

The Final Spectacle: Military Painting under the Second Empire, 1855-1867
Prof. John House and Prof.��

Making the Political Personal and the Personal Political : A multiple case study of August Sander, Andy Warhol, Trinh T. Minh-Ha and Chen Chieh-Jen

A History of A.I.R Gallery: Feminism and the Art institution (1970s, New York)

Democratic Mordernisum: Promoting Modern Art in England c.1908-1934
Prof. Christopher Green

From the Archetypal to Imtimate: Offical Representation of Napolean iii, 1850-1866
Prof. John House

Collecting Italian Drawings in Seventeenth Century Spain: The Marques del Carpio’s Collection
Dr Sheila McTighe

Scheherazade and The Odalisque in Early Twentieth-Century Visual Culture: Leon Bakst, Henri Matisse and Paul Poiret
Prof. Christopher Green

Collections and Social Status: Venetian Presence in Genoese Collections of the Golden Century (1523-1656/7)
Prof. Paul Hills