Pamela Fletcher (Ph.D., Columbia University) is Associate Professor of Art History at Bowdoin College, Brunswick, Maine. Author of Narrating Modernity: The British Problem Picture, 1895–1914 (2003), she has also published several essays on the nineteenth-century London art market. She is currently at work on a history of the Victorian painting of modern life, portions of which have appeared in the Oxford Art Journal, Victorian Studies and Nineteenth-Century Contexts.
Anne Helmreich (Ph.D., Northwestern University) is Senior Program Office, Getty Foundation (Associate Professor of Art History, Case Western Reserve University, Cleveland, Ohio, on leave). Her book The English Garden and National Identity, The Competing Styles of Garden Design, 1870–1914 (2002) won the Historians of British Art Prize for Best Book on Post-1800 topic. Her work has also addressed issues of gender and women artists as well as representations of nature and landscape.
Julie Codell (Ph.D., Indiana University) is Professor of Art History at Arizona State University and Affiliate Faculty in English, Asian Studies, Film and Media Studies, and Gender and Women’s Studies. Her articles on Victorian culture and India under the Raj have appeared in many scholarly journals in art history, English, history and film. She wrote The Victorian Artist (2003) and edited The Art of Transculturation (2012), Photography and the Delhi Coronation Durbars (2011), The Political Economy of Art (2008), Genre, Gender, Race, and World Cinema (2007), Imperial Co-Histories (2003), and special issues of Victorian Periodicals Review on the nineteenth-century press in India (2004) and Victorian art and the press (1991). She co-edited (with L. Brake) Encounters in the Victorian Press (2004) and (with D.S. Macleod) Orientalism Transposed (1998), now translated into Japanese (2011).
Patricia de Montfort (Ph.D., St. Andrews) is Lecturer in History of Art at the University of Glasgow, Scotland. Her research focuses on the published writings and theories of James McNeill Whistler (1834 –1903); Whistler’s press and literary connections, especially with Ruskin and Wilde; the art press, including relationships between artists, dealers, critics and editors; exhibition culture and the practices and processes of the London art market 1850 –1914; and nineteenth- century women artists, especially the work of Louise Jopling (1843–1933). Her current projects include a bio-cultural study of Louise Jopling and a documentary project on exhibition culture in Britain (exhibitionculture.arts.gla.ac.uk).
Pamela Gerrish Nunn (Ph.D., University College London) is an independent scholar and curator, specializing in the histories of women artists. She has published widely in this field since 1978. Her most recent book From Victorian to Modern: Tradition and Innovation in the work of Vanessa Bell, Gwen John, and Laura Knight, accompanied an exhibition of the same name at the Djanogly Art Gallery (Nottingham, UK) in 2006. She is currently preparing an exhibition of the work of Eleanor Fortescue Brickdale for summer 2012.
Ysanne Holt (Ph.D., University of Northumbria) is Reader in Art History at the University of Northumbria. Her book British Artists and the Modernist Landscape (2003) reflects her concern with the historical development of ruralist cultures and relationships between landscape representation, cultural memory, and national identity. She is currently engaged in English Art and Visual Culture in the 1920s, a monograph that addresses, among other things, critical discourse; dealing and collecting; and the practices of certain training institutions, galleries, and exhibiting societies.
Alexandra MacGilp (Ph.D., University of Reading/Tate Britain). She recently completed her thesis on The London Art World and the Formation of a National Collection of Modern British and Foreign Works at Tate 1926–1946, as an Arts & Humanities Research Council collaborative doctoral award holder. She is based in London, writes on modern and contemporary art, and curates exhibitions.
Morna O’Neill (Ph.D., Yale University) is Assistant Professor of Art History in the Art Department at Wake Forest University, Winston-Salem, North Carolina. She is a specialist in late nineteenth-century European art, in particular the conjunction of art, design, and politics. She is the author of the exhibition catalogue ‘Art and Labour’s Cause is One’: Walter Crane and Manchester, 1880–1915 (Whitworth Art Gallery, University of Manchester, 2008) and a monograph on Walter Crane from Yale University Press (2010).
Brenda Rix (MA, University of Toronto) is Assistant Curator of prints and drawings at the Art Gallery of Ontario. She has curated numerous exhibitions for the AGO in the area of prints and drawings dating from the eighteenth to the twentieth centuries, and published several exhibition catalogues, including Our Old Friend Rolly: Watercolours, Prints and Book Illustrations by Thomas Rowlandson and Pictures for the Parlour: The English Reproductive Print from 1775 to 1900. Recently, she assisted with the coordination of the exhibition Holman Hunt and the Pre-Raphaelite Vision and contributed the essay, ‘Prints: Spreading the Word’ to the exhibition catalogue.
Anna Gruetzner Robins (Ph.D., Courtauld Institute of Art) is Professor in the History of Art at the University of Reading. She has published widely on aspects of late nineteenth- and early twentieth-century French and British art. Most recently she published A Fragile Modernism: Whistler and his Impressionist Followers (Yale University Press for the Paul Mellon Centre for Studies in British Art, 2007). She co-curated the Tate exhibition, Degas, Sickert and Toulouse Lautrec: London and Paris, 1870–1910, with Richard Thomson in 2005. She is a specialist in Walter Sickert and her collection of his complete art criticism (Oxford University Press) appeared in 2000. She was a contributor to the volume Art Made Modern: Roger Fry’s Vision of Art (1999), among numerous other publications.
Andrew Stephenson (Ph.D., University of Edinburgh) teaches Visual Theories at the University of East London. He has published articles on British art and design of the late nineteenth and twentieth centuries; most recently ‘“Telling Decoratively”’: Ben Nicholson’s white reliefs and debates around abstraction and modernism in the home in the late 1920s and 30s’, in Visual Culture in Britain (2008) and ‘Palimpsestic promenades: memorial sculpture and the urban consumption of space in post-1918 London’ in Julie Codell’s The Political Economy of Art (2008). He is currently working on a study of British modernism 1920 – 40 and Patrilenes: Masculine Self-fashioning and Artistic Performance in Britain 1850–1910.
Malcolm Warner (Ph.D., Courtauld Institute of Art) is Deputy Director, Kimbell Art Museum, Fort Worth, Texas. He is a specialist in Victorian art and the leading authority on John Everett Millais. His publications have ranged widely over European art, with an emphasis on British art, from the eighteenth century to the twentieth. He curated The Victorians: British Painting in the Reign of Queen Victoria, 1837–1901 at the National Gallery of Art, Washington (1997); This Other Eden: Paintings from the Yale Center for British Art (1998); Millais: Portraits at the National Portrait Gallery, London (1999); James Tissot: Victorian Life/Modern Love at the Yale Center for British Art and other venues (1999); Great British Paintings from American Collections: Holbein to Hockney at the Yale Center for British Art (New Haven) and the Huntington Library, Art Collections, and Botanical Gardens (San Marino, California) (2001–2); Stubbs and the Horse at the Kimbell Art Museum, the Walters Art Museum, Baltimore, and the National Gallery, London (2004 –5); and the award-winning The Mirror and the Mask: Portraiture in the Age of Picasso at the Museo Thyssen-Bornemisza in Madrid and the Kimbell Art Museum (2007).
Mark Westgarth (Ph.D., University of Southampton) is Lecturer in Museum Studies at the University of Leeds, and formerly was lecturer in Museum and Heritage Studies, and Programme Leader for the MA Arts and Museum Management in the School of Art and Design at the University of Salford. He is author of A Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers, Regional Furniture (2009) and The Emergence of the Antique and Curiosity Dealer 1815–c.1850: The Commodification of Historical Objects (forthcoming, 2011).