About

Professor Campbell is a specialist in late nineteenth- and twentieth-century architecture. She studied under Quentin Bell and Hans Hess at Sussex, and Christopher Green at the Courtauld, to whom she owes her interest in the inter-relationship of art and architecture in the modern period.

Following her retirement in 2014 she was appointed an Emeritus Professor in the department. She is currently writing an essay about Orpen’s studio for the upcoming Watts Gallery exhibition William Orpen: Method and Mastery, and is working with Leamington Museum & Art Gallery on an exhibition in 2021 called Mercian Modernism, on the generation of artists and designers working in the Midlands after the Second World War.

Research interests

Late nineteenth and twentieth-century architecture, especially modern British architecture, public art in the post-war period, and the artist's studio. Further Information

Selected publications

• Studio Lives: architect, art and artist in twentieth-century Britain (London: Lund Humphries, 2019)
• ‘Reconstruction, Englishness and Coventry Cathedral’ , Storia Urbana, special issue on Britain at war: damages, debates, reconstruction, no.158, 2018, pp.87-110.

• ‘Georgian, neo-Georgian, modern’, Foreword to Neo-Georgian Architecture 1880-1970: a reappraisal ed. J.Holder and E.McKellar (Swindon: English Heritage, 2016), pp. x-xvi.

• ‘The Leamington Artists and Designers Group: “Art for the People and the People for Art”’ in Concealment and Deception: the Art of the Camoufleurs of Leamington Spa 1939-45, ed. J.Watkin (Warwick District Council, 2016), pp.77-87.

• ‘ “Un Bel Atelier moderne”: the Montparnasse artist at home’ in Designing the French interior: the modern home and mass media ed. A.Lasc, G.Downey and M.Tayor (London: Bloomsbury Academic, 2015), pp.179-89.

• ‘Perret versus Le Corbusier: building for art in the 1920s’, Kunst og Kultur Oslo , no. 4 2014, Ǻrg.97, pp. 206-15. (Special issue on modern houses for artists and art collectors ) PDF

• ‘Drawing attention: John Postle Heseltine, the Etching Revival and Dutch art of the age of Rembrandt’, Journal of the History of Collections 26:1 (2014), pp.103-15.

• ‘Eileen Agar at home: Domesticity, Surrealism and subversion’, Interiors: design, architecture, culture vol. 3:3 (Oct. 2012), pp.227-46

• Co-ed., Basil Spence: Buildings and Projects (RIBA, 2012): shortlisted for the William MB Berger Prize for British Art History, 2013.
• 'Building on the Backs: Basil Spence, Queens’ College Cambridge, and University architecture at mid-century', Architectural History, vol. 54 (2011), pp. 383-405.
• 'Paper Dream City/Modern Monument: Donald Gibson and Coventry', in The Man-Made Future: Planning, Education and Design in the mid-Twentieth Century, ed. Iain Boyd Whyte (Routledge, 2007).
• 'Shaping the sacred: Spence as church-builder” in Basil Spence Architect (National Galleries of Scotland, 2007) pp. 63-76.
• ' "Building a new map of learning": Spence and the University of Sussex' in Basil Spence Architect (National Galleries of Scotland, 2007) pp. 97-104.
• 'Constructivism and contexualism in a modern country house: the design of Brackenfell (Leslie Martin and Sadie Speight, 1937-8)', Architectural History, vol. 50 (2006), pp. 247-266.
• 'Questions of identity: women, architecture and the Aesthetic Movement', in Women's Places: architecture and design 1860-1960, ed. Brenda Martin and Penny Sparke, (Routledge, 2003), pp. 1-21.
• L. Campbell Ed., Twentieth-century architecture and its histories (millennial volume of essays published by the Society of Architectural Historians of Great Britain, 2000).
• Coventry Cathedral: art and architecture in Post-war Britain (Clarendon Studies in the History of Art, no.16, Oxford University Press, 1996).

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Qualifications

• MA; PhD (London)
• BA (Sussex)