Kelly Presutti
Mon, 07/30/2018
Fri, 08/24/2018
Fellow, Garden and Landscape Studies, Dumbarton Oaks

Presutti’s research project, “Strategic Vision: Artists in the Service of the Royal Navy,” examines maritime representation from the late eighteenth and early nineteenth centuries. She will contribute to a peer-reviewed article on the development of a strategic mode of picturing the sea, especially on the part of artists employed by the British Admiralty. Part of a larger inquiry, Presutti’s research at the Center will also investigate the role of naval imagery and collections in the formation of extra-national identity in Britain and France.

Heidi Strobel
Mon, 07/30/2018
Fri, 08/24/2018
Associate Professor of Art History, University of Evansville

Strobel’s manuscript The Art of Mary Linwood: Embroidery, Installation, and the Popular Picturesque is scheduled to be published in 2019. It examines how Mary Linwood adapted the practice of painting to her own purposes while simultaneously challenging the primacy of this genre through her replication and installation of famous artworks.

Rosie Ram
Thu, 08/02/2018
Thu, 11/01/2018
PhD Candidate, School of Arts & Humanities, Royal College of Art

Ram’s research project, “John McHale: Collage and Collaboration, 1945–65,” examines how collage and collaboration were vital elements of John McHale’s creative practice. While at the Center, Ram will study the McHale archive to investigate the relationship between collage and collaboration, and she will analyze how these elements of McHale’s practice intersected and how theoretical or discursive approaches to collaboration manifested within the materiality of collage.

Francesca Kaes
Mon, 08/06/2018
Fri, 12/21/2018
DPhil Candidate, Department of History, University of Oxford

Kaes’s research project, “Painting in Black and White: Strategies of Pictorial Composition in Painting and Print in Late Eighteenth-Century England,” investigates the interrelationship between printmaking and strategies of pictorial composition in painting in late eighteenth-century England. Her project argues that prints and paintings entered a reciprocal relationship in which printed images not simply reproduced painting but, in turn, impacted strategies of pictorial composition employed by painters. While at the Center, she will focus on the way in which the monochrome nature of black-and-white prints necessitated careful use of light and shade in painting so as to create balanced compositions that were successful not only in painting but also in print.