Coronavirus (Covid-19): Latest updates and information
Skip to main content Skip to navigation


Select tags to filter on

Paper published

December 2013

Michael Hatt, Edward Carpenter and the interior. Oxford Art Journal . ISSN 0142-6540. Volume 36, Issue 3. Information and text.

Online article

October 2013

Donal Cooper (with Meghan Callahan), ‘Sacred Space in the Modern Museum: Researching and Redisplaying the Santa Chiara Chapel in the V&A’s Medieval & Renaissance Galleries’, V&A Online Journal, Autumn 2013. Article

Online article

13 August 2013

Navigating NaplesJoris van Gastel. "Navigating Naples: The Italian Home of great art, atmosphere, architecture (and pizzas)". Online article for the Knowledge Centre, University of Warwick.

Article published

10 July 2013

Donal Cooper, "Rethinking Early Italian Panel Painting and the Primacy of the Altarpiece : Giotto’s Stigmatization of Saint Francis and its Pisan Context". In Art History . Published online: 10 July 2013. Art History Volume 36, Issue 4, pages 686–713, September 2013. ISSN 0141-6790. Abstract:

Article published

21 June 2013

Hatt, Michael. (2013) 'In Search of Lost Time: Greek Sculpture and Display in Late-Nineteenth-Century Britain'. In Art History. Volume 36, Issue 4, pages 768–783, September 2013. ISSN 0141-6790. Article first published online: 21 June 2013.

Online article

March 2013

Rosie Dias. 'Memory and the aesthetics of military experience : viewing the landscape of the Anglo-Mysore Wars'. March 2013. Tate Papers (No.19). ISSN 1753-9854 Online

Examining landscape imagery produced after the third Anglo-Mysore War (1789–92), Rosie Dias argues that these works oscillated between memorialisation, personal experience and aesthetic detachment, modes of viewing that were indicative of the social and professional identities of military draughtsmen.


Journal item

March 2013

Karen Lang. 'Editor’s Note: The Art Bulletin at One Hundred'. Published in The Art Bulletin, March 2013. Volume 95 (Number 1). p.7. ISSN 0004-3079.


Article published

March 2013
Paul Smith. 'Cézanne’s "Primitive" Perspective, or the "View from Everywhere"'. Published in The Art Bulletin, March 2013. Volume 95 (Number 1). pp. 102-119. ISSN 0004-3079.
The perspectival “distortions” commonly observed in Cézanne's paintings can be seen as the expression of “blind” visuomotor experiences as well as conscious visual perceptions. They thus correspond not to actual movements but to “virtual” movements internal to acts of perception of a kind described by Merleau-Ponty, which allow the perceiving subject a fuller sense of the physicality of things. Cézanne conveyed this form of engagement with things, alongside the appearances they present, by using varieties of parallel projection, often in disguise. His repudiation of perspective implies a repudiation of spectacle as the normative form of visual experience in modern life.