The show “Corot to Watteau” focuses on the complex histories of 38 selected drawings and two sketchbooks by French artists which were examined over the course of many years as part of a research project into their provenance. Critical attention was paid especially to those drawings that entered the Kunsthalle’s collection during and shortly after the Third Reich as a result of confiscation by the Nazis, particularly of Jewish property.

Among the works on display are numerous never-before-shown drawings by masters from the sixteenth to the nineteenth centuries such as Michel Corneille, Camille Corot, Antoine Coypel, Jacques-Louis David, Eugène Delacroix, Jean-Baptiste Huet, Jean Auguste Dominique Ingres, Amédée van Loo, Charles Joseph Natoire, Charles Parrocel, Hubert Robert, Marie-Ernestine Serret, Pierre Le Sueur, François Verdier, Eugène Emmanuel Viollet-le-Duc and Simon Vouet

At the turn of the 20th century, an unprecedented wave of women artists prevailed against social constraints and left Australia to pursue international professional careers.

This is the first major exhibition to focus on the vital role of these Australian women in the emergence of international modernism, including the now-famous, such as Nora Heysen, Margaret Preston and Grace Cossington Smith, as well as the still under-recognised, such as CL Allport, Justine Kong Sing and Stella Marks.

Featuring celebrated and rediscovered paintings, prints, drawings, sculpture and ceramics, Dangerously Modern: Australian Women Artists in Europe 1890–1940 reclaims the place of these pivotal Australian women artists, recognising their contribution to the development of European art. They brought new ideas back to Australia and played an integral, often unrecognised role in modernising our nation.

Western art developed in conjunction with the pictorial needs of the Christian church. At the heart of the Christian faith is the Crucifixion and the so-called Passion, the deeds and days leading to it. 

This exhibition brings together drawings from the Renaissance and the Baroque from the gallery’s collection and explores how artists depicted the complex themes of love, betrayal and pain found in these stories. Drawings include: Federico Zuccaro’s The Last Supper,  Ludovico Carracci’s Christ shown to the People, Toussaint Dubreuil’s The carrying of the Cross, Jacopo Pontormo’s Lamentation and many more.

Charting a journey through France, this exhibition examines how place informed the work of modern painters in the late 19th and early 20th centuries. Life in and around Paris and the coastal regions of Normandy and Brittany inspired the radical brushwork, light palette, and contemporary subject matter of impressionists like Claude Monet and Pierre-Auguste Renoir, their mentor and friend Édouard Manet, and the post-impressionists. Several of these painters subsequently moved to the South of France, seeking the warmer climate and dazzling sunlight that intensified their colors. The exhibition highlights Vincent van Gogh’s time in Arles and Saint-Rémy as well as Paul Cézanne’s deep connection to his native Provence. Finally, the show returns to Paris to find a new generation of painters who flocked to the City of Light from across Europe—Amedeo Modigliani, Chaïm Soutine, Giorgio de Chirico, and Joan Miró—and reaffirmed the French capital’s place as the center of modern art.

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.

The definitive exhibition of two pivotal British artists in the 250th year of their births.

Two of Britain’s greatest painters, J.M.W. Turner and John Constable were also the greatest of rivals. Born within a year of each other – Turner in 1775, Constable in 1776 – they used landscape art as a way to reflect the changing world around them.

Raised in the gritty heart of Georgian London, Turner quickly became a rising star of the art world despite his humble beginnings. Meanwhile Constable, the son of a wealthy Suffolk merchant, was equally determined to forge his own path as an artist but faced a more arduous rise to acclaim. Though from different worlds they shared a profound connection to nature, and both set their sights on transforming landscape painting, investing it with layers of meaning and emotion. [...]

Marking 250 years since their births, this landmark exhibition explores Turner and Constable's intertwined lives and legacies. Discover unexpected sides to both artists alongside intimate insights seen through sketchbooks and personal items. Must-see artworks include Turner’s powerful and dynamic later paintings, which shocked the art critics of his day and went on to inspire Claude Monet, and Constable's expressive cloud sketches capturing the changing light of an English sky.

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.

We will be looking for exceptional candidates at graduate-level or equivalent to participate in our unique 14-week paid Internship Programme this Autumn.

The objective of the Sotheby’s Internship Programme is to provide practical training experience to candidates interested in pursuing a career in the auction world. Placements are available across both Specialist and Business areas at Sotheby’s. 

 The Board of Trustees is seeking an Interim Director to join the organisation at a critical time in its continuing development. Working closely with the Board, and a team of inhouse staff and dedicated volunteers, an experienced individual will ensure the delivery of current programmes of public and private events and fundraising activity, while helping shape a long-term strategy to enable Strawberry Hill House and Garden to meet its charitable purposes, managing all aspects of fundraising and financial viability.

In seeking an Interim Director, the Board seeks candidates with strong strategic business skills, enthusiasm and entrepreneurial insight who can help to realise the potential of Strawberry Hill House & Garden, and secure its sustainability as a heritage visitor destination. They will be good managers of staff and volunteers with the ability to motivate, lead and inspire. They will have a collaborative and open management style demonstrating strong communication skills. They will be responsible for ensuring robust day to day management of the house and gardens, working alongside the Curator to ensure that Strawberry Hill House remains a vibrant centre of excellence, attracting an array of diverse visitors whilst fulfilling its educational mission.

We are looking for an enthusiastic Teacher of History and/ or History of Art to join our dynamic and successful department. We are a 15-strong, welcoming, forwardlooking and reflective department, with an innovative and evidence-based approach to Teaching and Learning. Pupils in Year 9 explore themes of ‘Revolution and Radicalism’ and ‘Power, Conflict, and Destruction’. We teach the Edexcel IGCSE course to the vast majority of pupils in Years 10 and 11. In the Sixth Form we offer discrete courses in Medieval, Early Modern, and Modern History, as well as History of Art. We currently teach the OCR A level History syllabus and AQA A level History of Art. The depth of experience and expertise within our department means that we are equally as comfortable in developing and supporting recent graduates or new entrants to the profession as we are in welcoming more experienced teaching colleagues to the team. The key element we require is a real subject specialism and enthusiasm for the role. 

Christopher Baker, Committee member:

Dating from the early 1470s, this affecting devotional work, demonstrates the sophistication of Botticelli’s painting early in his career in Florence. Probably intended to inspire private prayer in a domestic setting, it is an image that has a wider resonance as it delicately explores the power of maternal love.

The cult of, or enthusiasm for Botticelli, of which it formed a part, had grown during the Victorian era and the painting arrived in Britain in 1904; it was acquired by Lady Wantage and entered the renowned Lloyd collection.

Further research on the placement of Botticelli’s work in his career and the organisation of his workshop, as well as links with the wider context of Florentine Renaissance art would all be of enormous benefit. In view of these intriguing possibilities every effort should be made to try and secure this beguiling painting for a British collection.