The Head of Education leads the Education department of the Yale Center for British Art (YCBA), the largest museum outside the United Kingdom devoted to British art. The Head of Education develops and advances a vision for education at the museum, creating the framework and strategy for enhancing and managing the Education department’s community engagement, partnerships, public outreach, and programs, including the museum’s long-standing work with neurodiverse audiences. Reporting to the Deputy Director for Research, the Head of Education is a key member of the Research division’s senior management team. Their work will have a significant impact on the activities of all YCBA staff.

“We believe that open access assists RAMM to fulfil its central purpose. Adopting an open access approach lets users access digitised collections and contribute to the rich cultural heritage of Exeter, regardless of where they are. We want people to be inspired, informed and entertained by RAMM’s collection and to use them to foster individual creativity. We recognise the importance of providing knowledge and information to the public to advance our mission and to unlock new cultural discoveries.”

The decoration of the Luxembourg Palace galleries was the largest commission Rubens ever received. On Saturday 26 February 1622, the artist signed two contracts at the Louvre with the agreement ‘to make and paint with his own hand each and every one of the figures’ of the paintings which would decorate the two parallel galleries of the palace that the Queen Mother, Maria de’ Medici (1573–1642), had begun to have built on the left bank of the Seine. According to the first contract, the western gallery was now ready and Rubens ‘will be bound and obliged to design and to paint with his own hand twenty-four paintings depicting the history of the very illustrious life and heroic exploits’ of the Queen Mother, conforming to an incomplete memoir, of which he had received a copy. Rubens arrived in Paris to put the final touches to the finished canvases celebrating the life of Maria de’ Medici at the beginning of February 1625. But at this time the eastern gallery, planned to display the ‘battles… and triumphs’ of King Henri IV (1553–1610), Maria’s late husband, was still under construction. The Henri IV Gallery was to be an unfinished masterpiece: after a temporary suspension of the work in 1630, the project was definitively abandoned in 1631.

Alexis Merle du Bourg’s in-depth study of the Henri IV Series was published as Part XIV.2 of the Corpus Rubenianum Ludwig Burchard in 2017. The present volume charts the earlier part of the Medici commission, which happily survives, splendidly completed. It presents Maria in her relationship with Henri, her public role after her husband’s death and, not least, her difficulties and then reconciliation with Louis XIII, her son. Here Rubens invoked the gods of ancient myth and a whole company of personified abstractions to help mask problematic episodes, dignify banal events and create a glorious commemoration of the life and aims of the Queen Mother.

Museums throughout the United States have significant collections of pre-modern Dutch art. To help people identify and locate these museums, the Consulate General of the Kingdom of the Netherlands in New York and the Center for Netherlandish Art at the Museum of Fine Arts, Boston created “Mapping Dutch Art in the United States.” This digital mapping project allows users to more easily explore museums in the United States that show 17th-century Dutch art. The different sections below the map provide further resources to gain general knowledge about 17th-century Dutch art and understand its impact on collecting and exhibitions in the United States.

In this role, you will use your curatorial expertise on the collections to benefit a diverse audience, collaborating with a broad range of colleagues, the Cavendish family and other cultural professionals to research, exhibit and explore key themes through the collection, to broaden engagement and understanding.

In addition to line managing an Assistant Curator, you will be instrumental in developing a team of new Chatsworth Curatorial fellows. Your leadership will guide them in researching, cataloguing, and interpreting a broad range of curatorial subject areas and narratives.

You will lead and manage research initiatives and various other projects, to raise the visibility and accessibility (including digital) of the Devonshire Collection and the assets under our care.  Your efforts will span multiple channels, including publications, events, delivering lectures, partnerships and more. 

“[It was] as if painting died then as a great art form. This isn’t what happened. The art of painting non-representationally was brilliantly reinvented for our times, by Picasso and Matisse, of course, and many others.”

 “Bringing the collection up to date will also naturally and most importantly widen the gallery’s representation of female artists and the art of many cultures, truly reflecting the nature of Britain and our world today.”

“When it was founded, the gallery’s collection was on-going, with paintings being added when their greatness became apparent. This was often, understandably, a slow process, but sometimes surprisingly fast. The Gallery bought Van Gogh’s Chair only 34 years after it was painted.”

Discover William Blake’s universe and a constellation of European artists seeking spirituality in their lives and art in response to war, revolution and political turbulence.

Sometimes seen as an eccentric figure or lone genius, William Blake’s Universe is the first exhibition to explore Blake’s boundless imagination in the context of wider trends and themes in European art including romanticism, mysticism and ideas of spiritual regeneration.

This timely new exhibition brings together the largest-ever display of works by the radical British artist, printmaker and poet from our own collection, alongside artworks by his European contemporaries such as the German romantic painters Philipp Otto Runge and Caspar David Friedrich – many of which have never been displayed publicly in the UK until now.

The Exhibitions Manager will lead on all aspects of the successful organisational management and delivery of specific exhibition and displays from concept through to deinstallation and any onward tour.

The postholder will be the key point of contact for their specific projects, liaising with a wide range of internal and external colleagues including curators, external designers, external publishers, transport agents, ACE, lenders, venue partners and contractors.

Edited by Linda S. Ferber, Margaret R. Laster, and Samantha Deutch (series editor), the volume explores the dynamic landscape of American art collecting in the United States from the late eighteenth through the early twentieth centuries. The geographic range of collecting histories presented in this publication spans the country, from the Eastern Seaboard to the Old South, the Midwest, and the West Coast.

Contributing scholars investigate individual collectors and collectives whose missions to create regional and national collecting communities in the United States encouraged civic philanthropy in the fine arts. Key themes—such as the creation of an “American” school distinct from, yet rooted in, European tradition, as well as the trials of forming publicly supported museums—reverberate throughout the book. Essays examine early patrons, collectors, and museum founders; the impact of sectionalism, the Civil War, and reform on American collecting efforts; and the innovative and entrepreneurial spirit of artists, collectors, and dealers at the turn of the century and beyond. Each section foregrounds different issues, underscoring the complexity of the historical, cultural, and political environments in which collections of American art were formed.

Kathleen Carr, president of the Catholic Art institute, told the Register that AI creates images “but is not really art since it lacks a human’s imagination and hand in creating it. Sacred art is a human endeavor, and artists mirror God by being co-creators, bringing beauty and order into the world in architecture, beauty and art.” Carr, a classically trained realist painter and illustrator whose award-winning art has gained international recognition, pointed out that the earliest Christian artists were iconographers who prepared themselves with fasting and prayer before creating an icon, which they saw as a “window into heaven.” Importantly, this art requires an understanding of theology. “Christian artists intend to make something sacred or reveal something sacred for the purpose of drawing the faithful into prayer, contemplation, reverence and awe,” she said.

Furthermore, AI images she has seen “often lack proper theological symbolism ... a major glaring issue with AI ‘sacred art,’” plus, “the works are confabulations of various styles, some of which should be avoided, particularly photorealism or saccharine depiction.”

He was a pioneer in many fields, and introduced several new themes to Dutch painting. He made the Netherlands’ first floral still life, and was the most notable painter of the legendary (extinct) dodo. He was also the first artist who went out into the streets to draw ordinary people. His painted landscapes are often like a fairytale, featuring ancient ruins and marvellous vistas. And his animal paintings include so many species that it would be an understatement to describe them as 'crowded'.

Roelant Savery's Wondrous World, featuring over 40 paintings and drawings, including works on loan from museums in the Netherlands and abroad, will introduce visitors to this highly versatile artist.

Kondakov primarily works with backgrounds he’s photographed throughout his native Kyiv and other European cities including Berlin, Milan, and Naples. Often laden with graffiti and modern conveniences like electric stovetops and vehicles, the harsh, urban settings counter the soft, angelic characteristics of the Old Masters. In one work, the spirited trio in Ferdinand Leeke’s “Fleeing Nymphs” dashes across a misty street, while another depicts Alexandre Cabanel’s “Desdemona” sitting unamused with two empty cocktails on the table in front of her.