“During my time as a postgraduate I was given the opportunity to gain teaching experience as a tutor, to participate in a language course, as well as a variety of workshops that provided invaluable strategies for managing my dissertation research and the writing process. I will always be grateful for the warm welcome and support I received as in international student from the staff of the School of Art History, and for the time I spent as a member of this vibrant academic community.”
ALLISON PhD Art History
Social Sciences and Humanities Research Council of Canada Post-doctoral Fellow, Queen’s University, Canada
Professor Richard Fawcett (firstname.lastname@example.org
) specialises in the architecture of theMiddle Ages. His publications include Scottish architecture from the accession of the Stewarts to the Reformation (1994), Scottish medieval churches, architecture and furnishings (2002) and The architecture of the Scottish medieval Church (2011). He is presently involved in a project to produce a corpus of Scottish medieval parish churches.
Dr Luke Gartlan (email@example.com
) specialises in early photography and is particularly interested in the camera’s role in colonial-period visual culture, travel photographers, and non- Western responses to photography. Other research interests include Japonisme, Orientalism, and Art in the Habsburg Empire. He is Reviews Editor for History of Photography, for which he guest edited a special issue on photography in nineteenth-century Japan (May 2009).
Dr Linda Goddard (firstname.lastname@example.org
) specialises in relations between art and literature in the nineteenth and twentieth centuries, with a particular focus on France. She is especially interested in artists’writings, art criticism, and the visual and literary cultures of colonialism and travel. Her forthcoming book is Aesthetic Rivalries: word and image in France, 1880-1926 (2011).
Ann Gunn (email@example.com
) lectures inMuseum and Gallery Studies. Her publications include Lifting the Veil: Research and Scholarship in United Kingdom Museums and Galleries (co-author, 1999) and The Prints of Wilhelmina Barns-Graham, a complete catalogue (2007). She has also written on eighteenth- to twentieth-century British art and manages theMuseums, Galleries and Collections Institute (MGCI).
Dr Jeremy Howard (firstname.lastname@example.org
) specialises in central and east European art, architecture and design 1600-1920, regional variations of Art Nouveau, and education imagery, architecture and materialities. Among his publications are The Union of Youth; an artists’ society of the Russian avant-garde (1991), Art Nouveau: International and National Styles in Europe (1996) and East European Art (2006).
Professor Peter Humfrey (email@example.com
) is the author of widely recognised publications on Venetian Renaissance painting, including The Altarpiece in Renaissance Venice (1993), Painting in Renaissance Venice (1995), and Lorenzo Lotto (1997). Hewas Guest Curator of the Age of Titian exhibition held at the National Gallery of Scotland, Edinburgh, in 2004.
David Jones (firstname.lastname@example.org
) is a furniture historian with a principal interest in Scottish regional furniture. He is the author of The Edinburgh Cabinet and Chair Makers’ Books of Prices 1805-25 (2000) and editor of the journal Regional Furniture.
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