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Martin Kemp (art historian) - Wikipedia, the free encyclopedia From
Wikipedia, the free encyclopedia. Martin Kemp is Research Professor in
the History of Art at Oxford University. He has written and broadcast
extensively on imagery in art and science from the Renaissance to the
present day. He speaks on issues of visualisation and lateral thinking
to to wide range of audiences. has been the subject of books written
by him, including Leonardo (Oxford University Press 2004).
Increasingly, he has focused on issues of visualization, modelling and
representation. He writes to regular column on "Science in Cultures"
in (an early selection published as Visualisations, OUP, 2000). The
Natures essays to are developed in Seen and Unseen (OUP 2006), in
which his concept of "structural intuitions" is explored. His most
recent book is The Human Animal in Western Art and Science (Chicago).
He was trained in Natural Sciences and Art History at Cambridge
University and the. He was British Academy Wolfson Research Professor
(1993-98). More For than 25 years he was based in Scotland
(Universities of Glasgow and St. He has held visiting posts in
Princeton, New York, North Carolina, Los Angeles and Montreal. He has
curated to series of exhibitions on Leonardo and other themes,
including Spectacular Bodies at the in London, Leonardo from You win:
Experience, Experiment, Design at the in 2006 and Seduced: Sex and Art
from Antiquity to Now. He was also guest curator for Approximately
1492 at the. as he constructed to parachute according to Leonardo' s
drawings from materials which would have been available in his day. In
1485 Leonardo had scribbled to simple sketch of to four-sided pyramid
covered in linen. In June 2000, Nicholas launched himself from to hot
air balloon 10,000 ft over South Africa. Before, He parachuted for
five minutes as black box recorder measured his descent cutting
himself free of the contraption and releasing to conventional
parachute. 1960-3 Downing College, Cambridge University (Part I,
Natural Sciences, Part II History of Art) 1963-5 Academic Diploma in
the History of Western Art, Courtauld Institute. (a) Teaching and
Research Posts, and Visting Professorships, etc. 1965-6 Lecturer in
the History of Fine Art, Dalhousie University, Halifax, N. 1966-81
Lecturer in the History or Fine Art, University of Glasgow. 1984-5
Member of Institute for Advanced Study, Princeton 1990-5 Professor of
the History and Theory of Art, St. 1988 Benjamin Sonenberg Visiting
Professor, Institute of Fine Arts, New York University 1993 Dorothy
Ford Wiley Visiting Professor in Renaissance Cultures, University of
North Carolina, Chapel Hill 1993-8 British Academy Wolfson Research
Professor 1995-7 Professor of the History of Art, Oxford University
2000, Louise Smith Brosse Professor at the University of Chicago 2001,
Research Fellow, Getty Institute, Los Angeles 2004, Mellon Senior
Research Fellow, Canadian Centre for Architecture, Montreal 1997-
Research Professor in the History of Art, Oxford University. British
Academy Wolfson Research Professorship, 1993-8. Mitchell Prize for
best first book, for Leonardo from You win. The Marvellous Works of
Natures and Man. Armand Hammer Prize for Excellence in Leonardo
Studies Prize of the American Italian Association. Artist, Scientist,
Inventor at the Hayward Gallery, London (Co-curated). Art in the Age
of Discovery for the National Gallery, Washington (Co-curated). The
Mystery of the Madonna of the Yarnwinder, National Gallery of
Scotland. The Art and Science of the Human Body, Hayward Gallery,
London (Co-curated) 2002, Gergor Mendel, the Genius of Genetics, Abbey
of St. Experience, Experiment, Design, Victoria and Albert Museum. Art
& Sex from Antiquity to Now, Barbican Art Gallery, London (Co-curated)
Board of the Scottish Museums Council Board of the Museum Training
Institute Trustee of the Victoria and Albert Museum Trustee of the
Wilhemina Barns-Graham Charitable Trust Board of the Louise T Blouin
Institute Chair of Editorial Board, Art History Chair of Graeme Murray
Gallery, Edinburgh Board member, ` Interalia' (art-science
organisation sponsored by Marks and Spencer) Professor of History,
Royal Scottish Academy Member of the Council of the British Society
for the History of Science Membre Titulaire, Comité International d'
Histoire de the Art CD-Rom on Leonardo for Bill Gates Video ` The
Masters of Illusion' for the Gallery, Washington (their best-selling
video to that Time) Many appearances on TV programmes, including
50-tiny feature on Piero of the Francesca for ` Omnibus' 5 Leonardo
programmes for BBC and ITN Radio programmes, including interviews with
artists, appearances on ` Today', ` Kaleidoscope', ` Front Row', `
Night Waves' and the ` Colin Bell Show'. Arts Blog for The Guardian,
2007. ART AND SCIENCE (and History of Science) ' To Drawing for the
Fabrica and Loads Thoughts on the Vesalius Muscle-Men', Medical
History, XIV, 1970, pp. William Hunter at the Royal Academy of Arts,
Glasgow University Press, 1975. William Hunter on the Windsor
Leonardos and his Volume of Drawings Attributed to Peter from
Cortona', The Burlington Magazine, CXVII, 1976, pp. ' Science,
Non-Science and Nonsense: the Interpretation of Brunelleschi' s
Perspective', Art History, I, 1978, pp. William Hunter' (1718-83), The
Burlington Magazine, Not. ' Construction and Cunning: The Perspective
of the Edinburgh Saenredam', Dutch Church Painters, and. ' Red, Yellow
and Blue: the Limits of Colour Science in Painting', The Natural
Sciences and the Arts, and. ' Geometrical Perspective from
Brunelleschi to Desargues: to Pictorial means or an Intellectual End.'
(Aspects of Art Lecture, 1984), Proceedings of the British Academy,
(1984), LXX, 1985, pp. ' Simon Stevin and Pieter Saenredam: To Study
of Mathematics and Vision in Dutch Science and Art', The Art Bulletin,
LXVIII, 1986, pp. Loads Systems Alternatives in the 19th Century', AA
Files, XV, 1987, pp. ' Perspective and Meaning: Illusion, Allusion and
Collusion', Philsophy and the Visual Arts, and. The Science of Art:
Optical Themes in Western Art from Brunelleschi to Seurat, Yale
University Press 1990, reprinted with revisions 1992. in Italian as
Science of the art. Perspective and visual perception from
Brunelleschi to Seurat, Joints, Florence, 1994. in Spanish as the
Ciencia of the Art. The óptica en the art occidental de Brunelleschi
to Seurat, Ediciones Alkal, Madrid, 2000. ' Geometrical Bodies as
Exemplary Forms in Renaissance Space', World Art. Themes of Unity in
Diversity (Acts ofthe XXVI International Congress for the History of
Art, Washington, 1986, and. ' Taking it on Trust: Form and Meaning in
Naturalistic Representation', Archives of Natural History, XVII, 1990,
pp. ' "the diminutione of ciasun slowly": the rappresentazione of the
shapes in the space of Francisco di Giorgio', Before Leonardo
exhibition catalogue, and. ' Prescriptions for Painting: ' "Optical
Information" in Art from the Renaissance to the Late Nineteenth
Century', Kungl. Vitterhets Historie och Antikvitets Akademiens
Konferenser (Stockholm), XXIII, 1991, pp. ' Intellectual Ornaments:
Style, Interpretation and Function and Society in Loads Instruments of
Art', Interpretation and Cultural History, and. ' True to their
Natures: Sir Joshua Reynolds and Dr. William Hunter at the Royal
Academy of Arts', Notes and Records of the Royal Society of London,
XLVI, 1992, pp. ' Picturing the Prehistoric', review symposium of M.
Rudwick' s, Scenes from Deep Time, in Metascience, IV, 1993, pp. '
"Philosophy in Sport" and the "Sacred Precincts': Sir David Brewster
on the Kaleidoscope and Stereoscope', MUSE and Reason. The Relation of
Arts and Sciences 1650-1850, and. ' Piero and the Idiots: the Early
Fortune of his Theories', ' Monarch of the pittura'. Piero of the
Francesca and his Legacy, and. To New Cabinet of Art and Medicines,
exhibition and catalogue with K. Images of Human Anatomy from the
University of St. Andrews, exhibition and catalogue, Crawford Centre,
1995. ` Spirals of Life: Of Arcy Thompson and Theodore Cook, with
Leonardo and Dürer in Retrospect', Physis, XXXII, 1995, pp.
"Realtivity not Relativism: Thoughts on the Histories of Art and
science having ReRread Panofsky ", Meaning in the Visual Arts. Visons
from the Outside (Erwin Panofsky. ' New Light on Old Theories: Piero
of the Francesca and the Transmission of Light', Piero of the
Francesca between art and science, and. ' Temples of the Body and
Temples of the Cosmos: Vision and Visualisation in the Vesalian and
Copernican Revolutions', for volume on Picturing Knowledge. Historical
and Philosophical Problems Concerning the Use of Art in Science, and.
Farago, New Haven and London, 1996, pp. ' "Implanted in our Natures":
Humans, Plants and the Stories of Art', Visions of Empire. Voyages,
Botany and Representations of Natures, and. ' Doing What Comes
Naturally: Morphogenesis and the Limits of the Genetic Code', Art
Journal, and. ' The Ambiguous Object: the Perception of Artefacts
within Changing Taxonomies', The World, the Image and Aesthetic
Experience. Interdisciplinary Perspectives on Perception and
Understanding, and. ' In the Light of Dante: Meditations on Natural
Light and Divine Light in Piero of the Francesca, Raphael and
Michelangelo', Ars naturam adiuvans. ` Art and Science, The Art
Quarterly, Spring 1996, pp. ' Seeing Subjects and Picturing Science:
Visual Representation in 20th-Century Science', for 20th- Century
Science, and. ` Medicines in View: Art and Representation', for
Western Medicines. ` Parading the Horse', The Art Quarterly, XXX,
1997, pp. ` Art and Science', 28 articles in weekly series in 23
Natures from October 1997, to 30 April 1998 (essays on topics from the
Renaissance to now) `` Palissy' s Philosophical Pots: ceramics,
grottos and the "Matrix" of the earth', the origins of Modernity, and.
For one history of the relationships between art and science, the
Saggiatore, Milan, 1999. Introductory essay in The Physician' s Art.
Representations in Art and Medicines, Duke University Medical Centre,
1999, pp. "Vision and Visualisation in the Illustration of Anatomy and
Astronomy from Leonardo to Galileo", 1543 and All That, and. Science
and the Contemporary Visual Arts, and. Robert Thornton, Plant
Sexulaity and Romantic Science', Natura-Cultura. The interpretation of
the physical world in the witnesses and the images, and. "The
Handyworke of the Incomprehensible Creator", Writing on Hands. Memory
and Knowledge in Early Modern Europe, and. Lukehart, Dickinson College
and Folger Shakespeare Library, Washington, 2000, pp. Visualizations:
the Natures Book of Art and Science (based on articles for Natures),
2000, Oxford University Press and University of Press California (also
in German) with Marine Wallace, Spectacular Bodies. The Art and
Science of the Human Body from the Renaissance to Now, book for
exhibition at Hayward Gallery in London, University of Press
California, 2000. ` Vedere the space and to measure the images:
Brunelleschi and the perspective urbana', the Cathedral as sacred
space (Actions of the WAYS centennial of the Dome of Florence, vol.
"From Diffferent Points of View: Corrgeggio, Copernicus & the Mobile
Observer ", Coming About... To Festschrift for John Shaeraman, and.
"The Flower of Mathematics: Perspective in Perspective ", Geometry and
Space. The Celebrated Books on Geometry, Optics and Perspective of M.
Arnaud de Vitry, Sotheby' s, London, 10-11 April 2002. From the Visual
to the Non-Visual ", Gergor Mendel. "Gergor Mendel. the genius of
genetics", Interdisciplinary Science Reviews, XXVII, 2002, pp. "The
Mona Lisa of Modern Science", 50 Years of DNA, and. 102-6. also in The
Double Helix - 50 years, Supplment Natures, 23 Jan 2003. "Wissen in
Bildern - Intuitionen in Kunst und Wissenschaft", Iconic Turn. with
Antonio Criminisi and Sing Bing Kang, "Reflections of Reality in Jan
van Eyck and Roger Campin", Historical Methods, III, 2004, pp. "From
science in art to the art of science", Natures, 434, 17 March 2005,
pp. 308-9, also as Supplement: artists on science. scientists on art.
Art, Science, and Intuition from Leonardo to the Hubble Telescope,
Oxford University Press, Oxford, 2006. "Imitation, Optics and
Photography", Inside the Obscura Room. Optics and Art under the Spell
of the Projected Image, and. Wolgang Lefrèvre, Max-Plank-Institut
für Wissenschaftsgeschichte, 2007, 243-64 With Antonio Criminisi,
"Computer Vision and Painter' s Visions in Italian and Netherlandish
Art of the Fifteenth Century", Perspective, Projections and Design.
Mario Carpo and Frédérique Lemerle, London and New York, 2007, pp.
The Human Animal in Western Art and Science, Chicago, 2007 ` Science
and Culture', continuing series of monthly articles in Natures from
Jan 1999. ' the concept of the spirit in Leonardo' s Early Skull
Studies', Journal of the Warburg and Courtauld Institutes, XXXV, 1971,
pp. ' Dissection and Divinity in Leonardo' s Late Anatomies', Journal
of the Warburg and Courtauld Institutes, XXXV, 1972, pp. ' Every
dipintore paints if: To Neoplatonic Echo in Leonardo' s Art Theory. ',
Cultural Aspects of the Italian Renaissance: Essays in Honour of Paul
Oskar Kristeller, and. ' Leonardo and the Visual Pyramid', Journal of
the Warburg and Courtauld Institutes, XXXIX, 1977, pp. ' Navis
Ecclesiae: an Ambrosian metaphor in Leonardo' s Allegory of the 1515
Concordat', Bibliothèque d' Humanisme ET Renaissance, XLIII, 1981,
pp. Leonardo from You win: The Marvellous Works of Natures and Man,
London and Cambridge (Mass), 1981. (Mitchell Prize 1981), reprinted
with minor revisions, 1989, revised edition, 2006 (below) Leonardo
from You win: the mirabili operations of the nature and the man,
Milan, 1982. ' The Crisis of Received Wisdom in Leonardo' s late
Thought/La crisis of the traditional knowledge in the last Leonardo',
Leonardo and the Eta of the Reason, and. ' Leonardo after Milano', The
Burlington Magazine, Not. ' Leonardo' s Maps and the "Body of the
Earth" ', Bulletin of the Society of University Cartographers, XVII,
1984, pp. ' Leonardo from You win: Science and Poetic Impulse',
Journal of the Royal Society of Arts (Selwyn Brinton Lecture),
CXXXIII, 1985, pp. ' Analogy and Observation in the Codex Hammer',
Vinciani Studies in Memory of Nando di Toni, and. ' The Inventions of
Natures and the Natures of Invention, Leonardo. Galluzzi, Montreal,
1987 (in French as ` Les Inventions de natures ET the natures de the
invention'), Leonardo from You win. ' Late Leonardo: Problems and
Implications', Art Journal, XLVII, 1987, pp. ' "To Chaos of
Intelligence": Leonardo' s Dealt and the Perspective Wars in the
Académie Royale', ' if rendit en Italie'. Etudes Offertes à André
Chastel, Paris, 1987. ' Leonardo and the space of the scultore',
XXVII, Vinciana Reading, (You win, 1987), Florence, 1988. An anthology
of writings by Leonardo from You win with to selection of documents
relating to his career as an artist, and. Kemp and Margaret Walker,
Yale University Press, 1989. Artist, Scientist, Inventor, catalogue of
exhibition at the Hayward Gallery, London, 1989, and. Roberts),
published as Leonardo from You win, Yale University Press. ' Leonardo
from You win: motions of life in the lesser and greater worlds', Nine
Lectures on Leonardo from You win, and. ' Looking at the Last Supper',
Appearance, Opinion, Change: Evaluating the Look of Paintings, London,
1990, pp. ' Christ Fanciullo', Achademia Leonardi Vinci, IV, 1991, PP.
' Leonardo towards 1500 ', Leonardo & Venice, exhibition catalogue,
Palace Fat, Venice, 1992, pp. ' The Madonna of the Yarnwinder in the
Buccleuch Collection reconstructed in the context of Leonardo' s
Practice' Study, the Leonardeschi to Milan: fortune and Coleccionism,
and. The Mystery of the Madonna of the Yarnwinder, with To Thereza
Crowe, exhibition catalogue, National Gallery of Scotland, Edinburgh,
1992. ' The National Gallery of Scotland' s First Leonardo', National
Art Collections Fund. ' "Hostinato Rigor", Valéry' s Leonardo from
Vincian Perspective', Forschungen zu Paul Valéry, IV, 1991, pp. ' In
the Beholder' s Eye: Leonardo and the "Errors of Sight" in Theory and
Practice' (Hammer Prize Lecture), Achademia Leonardi Vinci, V, 1992,
pp. ' From Scientific Analysis to the Renaissance Market: the Houses
of Leonardo' s Madonna of the Yarnwinder', for The Journal of Medieval
and Renaissance Studies, XXIV, 1994, pp. Popham, The Drawings of
Leonardo from You win, and. Leonardo from You win, 1996, CD-ROM for
Corbis, Seattle, overall consultant, general editor, part-author and
part-presenter. ` The Body of the Earth', Leonardo from You win.
Farago, American Museum of Natural History, New York, 1996, pp. ` The
Reign of Vanities', To Cloudburst of Material Possessions. To Fantasy
on to Drawing by Leonardo from You win, exhibition guides, Purdy Hicks
Gallery, London, 1997. ' Leonardo-Beuys: the Notebook as Experimental
Field', for volume on Joseph Beuys. Drawings after the Madrid Codices
of Leonardo from You win, and. Kelly, GIVES Centre, New York. in
German as "Leonardo-Beuys: das Skizzenbuch also Experimenterfield',
Jospeh Beuys. Zeichnungen zu den beiden wiederentdeckten
Skizzenbüchen "Codex Madris" von Leonardo from You win, Richter
Verlag, Düsseldorf, 1988 and 1998, pp. vol: ` Leonardo from Vinci'
(from Dictionary of Art), pp. 40-60. ` List of Dates' (with Kenneth
Clark), pp. vol II: ` From Scientific examination to the Renaissance
Market: The Houses of Leonardo from Vinci' s Madonna of the
Yarnwinder', pp. ` Leonardo and the Space of the Sculptor' (Vinciana
Reading in English), pp. 303-14. ` Leonardo from You win: Science and
the Poetic Impulse', pp. 23-32 ' ` Leonardo' s Leda and the Blevedere
River-Gods: Roman Sources and to New Chronology', pp. 168-80. ` Late
Leonardo: Problems and Implications', pp. IV: ` Leonardo and the
Visual Pyramid', pp. 96-118. ` In the Beholder' s Eye: Leonardol and
the "Errors of Sight" in Theory and Practice', pp. 123-135. `"Il
concept of the spirit" in Leonardo' s Early Skull Studies', pp.
205-29. ` Dissection and Divinity in Leonardo' s Late Anatomies', pp.
230-65. ` Analogy and Observation in the Codex Hammer', pp. V: ` The
Crisis of Received Wisdom in Leonardo' s Late Thought', pp. 81-96. `"A
Chaos of Intelligence": Leonardo' s "Traité" the the Perspective Wars
at the Académie Royale', pp. ` In Praise of Model making. from
Leonardo to Beuys', I demarcate: On the Road to Meikle Segie, Kingston
University, 2000, pp. ` Leonardo from You win: science and scientific
impulse "," Hostinato Rigor ". "' Fairies as I say, not fairies like
faccio'. Spazio and the spectator in the Last Supper ", the Genius and
the Passions, and. Zur graphischen Darstellung von Physicher und
mentaler Bewegung in den Manuscripten Leonardos ", Leonardo from You
win. Koochenesfahani, "Leonardo' s vision of flow visualization",
Experiments in Fluids, XXXIII, 2002, pp. `"Your Humble and Faithful
Servant": Towards to History of Leonardo from You win in his Contexts
of Employment', Gazette DES Beaux Arts, CXL, 2002, pp. "Drawing the
Boundaries", Leonardo from You win. Bambach, exhibition catalogue,
Metropolitan Museum, New York (New Haven and London), 2003, pp.
"Leonardo and the Idea of Naturalism: Leonardo' s Hypernaturalism ",
Painters of Reality. The Legacy of Leonardo and Caravaggio in
Lombardy, and. Andrea Bayer, exhibition catalogue, Metropolitan
Museum, New York, 2004, pp. 65-73. trs, "I' ipernaturalismo of
Leonardo, Painters of the realtá, and. Leonardo, Oxford University
Press, 2004 (translations: German, Portugese [ Argentine Portugal and
], Italian, Korean, Japanese, Turkish, Bulgarian...). Leonardo from
You win, experience disciple, trs. Parizzi, Life and Thought, Milan,
2004 (translation of 27 selected articles). The Marvellous Works of
Natures and Man, revised and. Experience, Experiment and Design, book
for exhibtion at Victoria and Albert Museum, London, and Princeton
University Press, Princeton (NJ), 2006. RENAISSANCE (other than
Leonardo and art and science) Top from Conegliano in ' The Masters'
Series, London, 1967 ' The Panels of Standing Bishops in the Urswick
Chapel', Report of the Society of the Friends of St. George' s and
Descendants of the Knights of the Garter, V, 1969-70, pp. ' Visual
Arts, Western' (Part Author), British Encyclopedia, 15th edition,
1974, pp. ' From Mimesis to Fantasy the the 1400's Vocabulary of
Invention, Imagination and Creation in the Visual Arts', Viator (Los
Angeles), VIII, 1977, pp. ' Botticelli' s Glasgow Annunciation:
Patterns of Instability'. ' The Taking and Use of Evidence, with to
Botticellian Houses Study', The Art Journal, XLIV, 1984, pp. ' "Equal
Excellences": Lomazzo and the Explanation of Individual Style in the
Visual Arts', Renaissance Studies, (Society of Renaissance Studies
Annual Lecture), I, 1987, pp. The Sixteenth-Century View' in Genius,
and. Edition of and introduction to Leon Batiste Alberti, On Painting
(trs. Grayson) for Penguin Classics and Viking, 1991. ' The Altarpiece
in the Renaissance: to Taxonomic Approach', The Altarpiece in the
Renaissance, and. ' Paul Uccello' s Hunt in the Forest' (with To
Massing), The Burlington Magazine, CXXXIII, 1991, pp. 164-78 (also
produced as to booklet for the Ashmolean Museum, Oxford). ' Ludovico
Cigoli on the Origins and Rationale of Painting', Mitteilungen DES
Kunsthistorischen Instituts in Florenz, xxxv, 1991, PP. Art in the Age
of Discovery, National Gallery, and. ' Renascence of the Renaissance,
or POP Goes the Ermine', Art Quarterly, 49, 1992, pp. ' Virtuous
Artists and Virtuous Art', Notions of Decorum in Renaissance
Novellistic Art, and. ' Coming into Linens: Graphic Demonstrations of
Skill in Renaissance and Baroque Engravings', Sight and Insight.
Essays on Art and Cultures in Honour of and. ' In the Light of Dante:
Observations on Divine and Natural Light from Piero of the Francesca
to Michelangelo', Ars naturam adiuvans. Behind the Picture: Art and
Evidence in the Italian Renaissance, London and New Haven, 1997. In
German as ' Der Blick hinter der Bilder'. Text und Kunst in der
italienischen Renaissance, Dumont, Cologne, 1997 (French and Italian
translations awaited)"Verrocchio' s" Saint Donato "and the Chiesina of
the Vergine of Public square in Pistoia', Pantheon, LVI, 1998, pp. `
Making it Work: the Perspective Design of the Gubbio Studiolo "in, The
Gubbio Studiolo and its Conservation, Or, Metyropolitan Museum of Art,
New York, 1999, I, pp. Entries on Leonardo from You win, Portrait of
Cecilia Gallerani and Giorgione, the Tempetsa, in The Folio Society
100 Book of the Greatest Paintings, London, 2001, pp. with Eun Sung
Kang," The Engineering of the Composition ", Raffaello from Florence
to Rome exhibition catalogue, Gallery Bourgeois, Rome, 2006. To
Personal Impression', Votives and Libations in Summons of the Oracle,
St. ' Stephen Farthing: Feeling Spaces', Stephen Farthing. The
Knowledge: Exeter, Spacex Gallery, Exeter, 1991. ' Our Identity is Our
Discomfort', Michael Esson, Exhibition Catalogue, St. ` Eduardo
Paolozzi', Spellbound, exhibition Catalogue, Hayward Gallery, London,
199 *, pp. ` The Beholder' s Share', James Hugonin, exhibition
catalogue, Kettle' s Yard, Cambridge, 1996. ` Singing Nature' s Song',
Wilhelmina Barns-Graham. New Paintings, Art Fist, London, 1999. `
Durch eine Scheibe, die machmal matt ist. Der Spiegel, die Kamera und
das Medium', John Hilliard, and. In English as `"Through to Glass
Darkly": the Mirror, the Room and the Medium', John Hilliard, London,
1999, pp. Thoughts on the Implicate Order for Susan Derges', Susan
Derges. To Baker' s Dozen for Gustav Metzger', Gustav Metzger,
Retropsectives, Museum of Modern Art, Oxford, 1999, pp. "We All Live
in to Tin Submarine", Reinhard Behrens. Twenty-Five Years of
Expeditions into Naboland, Glasgow, 2000, p. ' Loads reflections on
Watery Metaphors in Winckelmann, David and Ingres', The Burlington
Magazine, CX, 1968, pp. ' William Leighton Leitch and the Mauchline
snuff-box trade in Burns souvenirs', The Connoisseur, CLXX, 1969, pp.
' Ingres, Delacroix and Paganini: Exposition and Improvisation in the
Creative Process' the Art, IX, 1970, pp. David and the Prelude to to
Moral Victory for Sparta', Art Bulletin, THEM, 1970, pp. ' Alexander
Nasmyth and the Style of Graphic Eloquence', The Connoisseur, CLXXIII,
1970, pp. ' Scott and Delacroix, with loads Assistance from Hugo and
Bonnington', in Scott Bicentenary Essays, and. ' The Hunterian
Chardins X-rayed', The Burlington Magazine, CXVIII, 1976, pp. ' To
Dates for Chardin' s Lady Taking Tea', The Burlington Magazine, CXX,
1978, pp. Gombrich in Retrospect', Art History, WAYS, 228-43, 1984.
Review Article, Michael Baxandall' s Patterns of Intention, in
Zeitschrift für Kunstgeschichte, L, 1987, pp. ' Museums and
Scholarship', Working with Museums, and. ' To loss of balance: the
Trustee Boards of National Museums and Galleries, The Burlington
Magazine, CXXXI, 1989, pp. ' Lust for Life: Artist' s Biographies in
Fact and Fiction', Art ET les revolutions (XXVIIe Congrès
International d' Histoire de the Art, 1989), vol. ' Towards the
Creative Contract', The Visual Arts for the Charter 2000, Scottish
Arts Council, Edinburgh, 1992 (partly incorporated but not credited).
' The ' Art of Seeing Nature': Points of View in the Perception of
Landscape in Britain, 1770-1850, De the beauté to the ordre du monde:
paysage ET crise de the lisibillité, and. "' The Guidelines for the
Professional Practice of Art History' issued by the Association of Art
Historians in Great Britain", International Journal of Cultural
Property, I, 1992, pp. ' Dumb Signs and Blind Alleys', Art History,
XVI, 1993, pp., ' Mood of the Moment' Masterworks of Photography from
the University of St. Andrews, exhibition catalogue, Crawford Arts
Centre, University of St. Andrews and National Museums of Scotland,
Edinburgh, 1993-4. Perspective, Art and Science etc. ` Object
Lessons', Introduction to the Report of the Museum' s Education
Initiative, Scottish Museums Council, Edinburgh 1996. ` Talbot and the
Picturesque View. Henry, Caroline and Constance', History of
Photography, XXI. `"A Perfect and Faithful Record": Mind and Body in
before Photography 1900', Beauty of Another Order, and. To Thomas, New
Haven and London, 1997, pp. with Marine Wallace, ` What' s it Called
and What' s it For. Visiting with Sir Joshua', Paintings from the
Dulwich Picture Gallery, Lothbury Gallery, Natwest Group, London,
1999. The Oxford History of Western Art, editor and part-author,
Oxford, 2000 (al)so in German, and Portugese. "Instinctively Radical",
Raising the Eyebrow: John Onians and Wolrd Art Studies, and with
Nicholas Lambert, "the Art via the ordinateur: nouveau cru ou juste
une novels étiquette. De discontinuité dans the ways artistique,
Paris, 2002, pp. with Kelley Wilder, "Proof Postsive in Sir John
Hershel' s Concept of Phorography", History of Photography, XXVI,
2002, pp. Interview with Karen Raney, Art in Question, and. Raney,
London and New York, 2003, pp. "Hew Lorimer: from Spirit to Stone ",
Sculpture Journal, XV, 2006, pp. with Marine Wallace and Joanne
Bernstein, Seduced. Sex and Art from Antiquity to Now, book for
exhibition at the Barbican Centre, London, 2007. Four 25-tiny radio
interviews with artists on the ` Human Condition' for Radio 3, and
regular radio interviews and discussion programmes with practising
artists for ' Third Ear' on BBC 3, and various T. programmes, also
consultant for TV programmes for ITN, BBC and other companies.
FORTHCOMING (book-length projects only) Iconic Images from Christ to
DNA, to be completed 2009 with Juliana Baron, Drawings by Leonardo
from You gain and his Follwers in British Collections (with facsimile
and with Thereza Wells, Leonardo from
Vinci.org/wiki/Martin_Kemp_%28art_historian%29 Alumni of the
Courtauld Institute of Art Year of birth missing (living people) This
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