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.
Birrell’s research project, “Investigating the artistic cultures of Gwen John’s rooms,” looks at the gendered, sexual, and emotional identities created and reflected by Gwen John’s representation of rented rooms. The dominance of the flâneur has resulted in the marginalization of urban experiences that occur within private, indoor space. Birrell’s research will generate a comparably historicized cultural project grounded in the subjectivities, artistic practices, and networks associated with the room.
Lyon’s research project, “Making an Impression: Prints by British Women Printmakers in the Long Eighteenth Century at the Yale Center for British Art,” investigates female printmakers (ca. 1700–1850), focusing on Maria Prestel, Letitia Anne and Mary Byrne, Carolina Leighton, Mary Darly, and Angelica Kauffman. Her research will explore the relationship between printmakers and the reproductive print, development of stylistic approach, and the relationship between printmaking and women occupying other roles in the industry, such as painters, publishers, and printsellers.
Tetermazova’s research project, “On the Question of National Identity: The Art of Gabriel Skorodumov (1754–1792) and James Walker (ca. 1760–ca. 1823) in the Context of British-Russian Cultural Relations,” offers an attempt to reveal the national characteristics in late eighteenth- and early nineteenth-century British and Russian printmaking, focusing on the artistic production of Gabriel Skorodumov and James Walker.
Burns’s research project, “Rediscovering ‘the English Modern Masters’: artisans of the mid-seventeenth century at the Yale Center for British Art,” centers around the “English Modern Masters” identified in William Sanderson’s Graphice (1658). While at the Center, she will investigate the extent to which England could be said to have had a “school” of art in the mid-seventeenth century, through studying the artwork of these individuals and exploring the factors that influenced them.