Category: Research

The award(s) will be held in either the Department of History of Art or the Department of Architecture, which jointly form the Faculty of Architecture and History of Art. The projects will be supervised by one of: Dr Frank Salmon (CSCA Director); Assistant Director Dr Elizabeth Deans (CSCA Assistant Director); and Professor James Campbell.

The successful candidate(s) will have defined their own topics and questions, appropriate to the primary research material available and to the research interests, broadly defined, of one of the three specified supervisors (who should be named in the application), as well as to the CSCA mission statement.

Given the international range of classical architecture of the past 600 years, visual and archival research may involve travel and time spent abroad, for which official permission from the University to Work Away would be needed, in addition to the agreement of the Centre’s Director.

Artistic renderings of the human figure—in portraiture, sculpture, and other media—in a range of allegorical, historical, and religious images often showcase jewelry. The ornaments depicted in such designs offer an abundance of information that not only heightens our understanding of the subject but also provides insights into the imagination of the artist. Jewelry enhances our enjoyment of works of art because it is visually compelling, sensuous, and laden with an array of associations and symbolic meanings.

Bringing together spectacular and significant art objects depicting figures wearing sumptuous personal adornments that define who they are within the specific milieus in which they lived, this richly illustrated and accessible volume represents a novel, interdisciplinary approach to the ways in which jewelry can be studied and understood.

This book considers how art market stakeholders, including art dealers, collectors and agents, have shaped museum collections and affected exhibition practices since the mid-nineteenth century. Based on new archival research and data analysis, it explores the role of dealers not only in selling directly to museums, but in influencing museum collecting priorities, as well as potential donors. It also examines the important but hitherto overlooked contribution of the female curator-agent.

The book is divided into three sections, which address the relationship between art dealers and museums, women as art agents and influencers, and the strategies of entrepreneurial collectors. Featuring contributions from a wide range of international specialists in the market for decorative arts and antiquities, as well as European modernism, The Art Market and the Museum explores the origins and development of the modern Western art market and the global art networks that operated not only in Paris, London and New York, but in cities such as Glasgow, Vienna, Melbourne and Kansas City. It is perfect reading for scholars and researchers on the history of the art market, museum studies and art history more broadly.

Roles and responsibilities:
-Assist with day-to-day documentation and research of the collection
-Responsible for all curatorial matters relating to the Ottoman world.
-Contribute to (temporary and permanent) display and exhibition development.
-Handle public queries, Educational and Communication Division requests, and scholarly requests.
-Must be able to work within a team, be flexible and self-motivated. Liaise with museum conservators, registrars and other colleagues on a regular basis.
-Other activities as requested by the Deputy Director of Curatorial Affairs. 

The Bader Collection is the strongest holding of Old Masters in any Canadian university art gallery, and the most comprehensive collection of authenticated paintings by Rembrandt van Rijn and his circle in any institution within Canada. Comprised of over 500 paintings, sculptures and works on paper that span the fourteenth through the mid-nineteenth centuries, the collection contributes fundamentally to the study and enjoyment of early modern European art in Canada and abroad.

A result of the highly discerning eye of Dr Alfred Bader (1924-2018), The Bader Collection has brought international stature and renown to Agnes’s collections.

We are looking for a detail-oriented individual with excellent organisational skills to support the Managing Editor with the delivery of Tate’s peer-reviewed online journal, Tate Papers. Demonstrating excellent written and verbal communication skills as well as a broad knowledge of digital platforms, you will fact-check and copy-edit research texts and upload them to the Tate website.

You will also be responsible for updating the Tate Research webpages and supporting the Managing Editor to create and deliver content for social media and newsletters.

This role requires a meticulous individual who can effectively manage deadlines and is passionate about art, its history and sharing research online. 

Established to inspire the development and publication of innovative object-based scholarship, the winning entrant will receive a prize of £1,000, with publication in The Burlington Magazine’s annual issue dedicated to Northern European Art, plus a one year print and digital subscription.

We seek previously unpublished essays of 1000–1500 words from early career scholars worldwide.

This is defined as within 15 years of their most recent post-graduate degree. Submissions should be in English and should include candidate’s CV, all as a single PDF.

-Cataloguing a Contemporary Music Archive
-Cataloguing Printed Scores and Libretti in the Bunnett Muir Musical Theatre Trust Archive
-Craft and Natural Materials in Exhibition Design
-Developing a Digital Research Repository for the V&A
-Developing Frameworks for Born-Digital and Hybrid Collections
-Henry Cole’s travel diaries: knowledge, acquisitions and networks
-Investigating Functional and Multi-Sensory Objects in the Young V&A Collection
-Ludwig Gruner: Art Advisor to Queen Victoria and Prince Albert. Cataloguing and contextualising a collection of drawings and photographs
-Methodologies of audience-led collections research with children, young people and families
-Provenance Research on Ethiopian Objects
-Provenance Research on Southeast Asian Art Collections at the V&A
-Provenance Research on the NAL’s Acquisition of German Books During the Nazi Era
-Surveying and Cataloguing Roger Fenton’s Photography Collection
-Zero Waste Approaches to Exhibition Making

Holbein’s Ambassadors is one of the most famous paintings in the National Gallery. It is also one of the most intriguing. Laden with hidden symbols and mysteries, the work has been the subject of intense debate among historians during the five centuries since it was created.

Here Tracy Borman unpicks the secrets of this enigmatic artwork, painted during a turbulent time in English history as Henry VIII broke from the Catholic Church in order to marry the young Anne Boleyn. From Holbein’s experiences as a German-Swiss émigré who rose to a position as the ‘King’s Painter’, to the two French ambassadors’ troubles at court, this book illuminates the fascinating story behind a masterpiece of the Tudor era.

You will shape and deliver collections-based research, displays, public programming and curatorial work on these collections to support the Museum's Vision and Mission, the Research & Impact Strategy and the Business Plan. We particularly encourage approaches that consider the present-day and global relevance of these collections, and how communities connect with these objects and artworks. You will be encouraged to work collaboratively within the Fitzwilliam Museum and across the University of Cambridge.

The post-holder will be knowledgeable about, and have experience of working with Historic & Modern Paintings, have experience of exhibitions/displays, and be committed to developing new collection perspectives, including researching, teaching, exhibiting and publishing the work of diverse and underrecognised artists or cultures.

We are looking for a talented person with strong experience in research management to lead our research team, during a period of parental leave. With strong communication skills, you will support the Director of Research and Interpretation in advancing Tate’s research aims over the next year.

The Research Convenor (parental leave cover) will lead a team of Special Project Researchers to ensure that research targets are met. You will also work alongside the Director to help shape a programme of research development and dissemination.

In its pre-Arches form, the Getty Provenance Index represented provenance information gathered from historic documents by replicating the tabular structure of the source material as flat-file records, meaning each entry was a single, independent row without links to other data points. In the remodeled Getty Provenance Index in Arches, those flat-file records have been transformed into a linked open data system. This means each entity is uniquely identified and connected to other relevant data using controlled vocabularies and semantic connections. This remodeling from relational to graph data transforms the implicit relationships recorded in a flat-file row into an explicit, relational web of entities that consolidates people, objects, places, and events into uniquely identified resources.

In Arches, Getty Provenance Index data is generated through events. Often, but not always, these events are related to historic transfers of ownership. These events create data that populates one of nine Resource Models used in the Provenance Index: Activity, Group, Person, Physical Object, Place, Provenance Activity, Set, Textual Work, and Visual Work. These models are based on the Linked.Art metadata application profile of the CIDOC Conceptual Reference Model (CRM) reference model.

Rosalind Joy Savill (1951–2024) - By Stephen Duffy and Christopher Baker

A new border from Abbot Suger’s Saint-Denis - By Michael W. Cothren and Mary B. Shepard

Friendship tokens: Jean-Baptiste Greuze’s paintings for Madame de Pompadour - By Yuriko Jackall, John K. Delaney and Michael Swicklik

British press reaction to the London exhibitions of David, Lefèvre, Wicar and Lethière - By Humphrey Wine

Recasting and republicanising Millet’s horizons: Félicien Rops, Jean-François Raffaëlli and Jean-Charles Cazin - By Richard Thomson

Bravery, ingenuity and aerial post: an enamelled bowl by Joséphine-Arthurine Blot - By Daniëlle O. Kisluk-Grosheide

Antoine Caron and Italy - By David Ekserdjian

I suppose to be fair one should try to work with the new format. It may be possible to get it to do what the old one did with a little persistence ...

I’m wrong. It is rubbish.

'Linked data' [the idea behind the Getty's new database] was the next big thing in the internet about 15 years ago [...] The idea is simple: to offer a highly structured and logical scheme into which every single bit of historical data can fit. The vision then was that the internet was going to become one vast repository of information that was linked logically.

I'm really surprised to see that this approach has survived. It's fine when you have lots of data but in fact the Getty provenance index is quite 'thin' - it has tons and tons and tons of lists of pictures, and (ok there is a bit more, but) that's about it.  So when you create a really fancy structure, all the user really sees is the structure - you can't really see the small amount of data within, because it's hidden by all the scaffolding surrounding it. They haven't done any user testing among people who actually use the database for art history - or if they did, they just ignored it. I have no idea, for example, how to get a catalogue view. Looking up an artist and trying to get a simple list of everything he did - that doesn't seem to be possible. Nowhere do we learn which bits of data are the direct primary source and which are extrapolations.

This PhD will explore the lives and careers of people who painted and decorated working-class and lower-middle-class homes and lodging houses in the early modern period. The project will involve extensive archival research in numerous British collections. The successful candidate will also be involved in the museum's upcoming redisplay of the early modern period rooms.

This project will be jointly supervised by Dr Matthew Walker (Assistant Professor in Architectural History), Dr Frank Salmon (Associate Professor in the History of Art) at Cambridge; and, at the Museum of the Home, by Marina Maniadaki (Exhibitions and Project Manager) and Louis Platman (Curator and Research Manager).

This lecture examines a series of plantation landscapes made in seventeenth-century colonial Dutch Brazil. Taking up the concept of the necropastoral, this paper investigates how these seemingly idyllic scenes indicate the enormous human and environmental degradation perpetuated by the forcible extraction of labour from enslaved African people and of sugar from the Atlantic Forest.

During the period of the Dutch colonization of a portion of northeastern Brazil, Post painted the first representations of the “New World.” After his return to the Netherlands, he continued painting Brazilian themes but with fantastical elements, as seen in Landscape with Anteater, in which an anteater and an armadillo appear larger than life. Even more fanciful than the oversized creatures is the painting’s depiction of Black people living in relative harmony with Indigenous people and European colonists, giving the false impression that the violence and conflicts of slavery and colonialism did not exist there.

This is a call for applications to a Summer School in Antwerp/Brussels and Cambridge/London from Tuesday 1st July to Thursday 10th July. 

The focus will be Southern Netherlandish Art, 1500-1700. The summer school is organised by the History of Art Department and Trinity Hall, the University of Cambridge, and the Rubenshuis, Antwerp. The programme is kindly funded by the Government of Flanders. [...]

The programme aims to bring together 12 promising emerging researchers to explore Southern Netherlandish Art through lectures by experts in the field and guided tours of museum collections, churches, and private collections in stately homes. The summer course will present a unique opportunity to expand the participants' networks in Belgium and England.

Born a little over a hundred years apart, Jonathan Richardson (1667-1745) and John Constable (1776-1837) both used drawing to pursue projects of intense introspection. Richardson made a sequence of self-portraits in which he explored the process of his own ageing with pathos and wit, while Constable parted from his family home in Suffolk with a series of intensely emotional drawings of significant places. In this lecture, Dr Owens will look at drawing’s role in soul-searching and taking stock.