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About me: I a British art historian. I have lived extensively in France and the US and I have degrees from British, French and American universities. I would say that these transnational journeys have shaped my intellectual outlook. I work on European art in the Early Modern era and I write about the image as a powerful tool for indoctrination, affirming and undermining social and political identities and as a vector of national and cultural myths. My particular area of specialisation is visual culture in Britain c.1660-1830. Current research relates to a book and a book chapter on visual satire and national identity. The sort of images that I am currently writing about here look like this:

William Hogarth, ‘Noon’ from The Four Times of the Day, 1736 (Private Collection)

In 2018/9 I will be working in the UK and Africa, travelling between the Courtauld Institute of Art (University of London) where I am employed as an Associate Lecturer and Yaoundé (Cameroon) where my husband is completing a mission for the French government. You can find a more detailed account of my professional activities on my cv 2019  I am also on linked in and Academia.edu .

Photo on 4-21-16 at 14.13

Upcoming in 2019:

In July, I shall be teaching Summer School at the Courtauld Institute in London. Find out more here….Summer School 2019

In September, I shall be running a new short course called ‘Battlefields: Eighteenth-Century British art and Its Interpretation’. For information on registration click here…Short Courses September 2019

Recent Work 2018/9:

In January, I gave a lecture on James Thornhill for the Showcasing Art History Lectures which are organised by the Public Programmes department. More information on that is here SHOWCASING ART HISTORY SEASON XIII…..

Autumn Term, 2018 at the Courtauld Institute: teaching a Special Option for 3rd year undergraduates called ‘Graphic Satire in Eighteenth-Century Britain’. You can read the course description here. graphic satire course description for website.

While in Africa I am in the early stages of a new project which is provisionally called ‘The Cries of Yaoundé’: the concept is to adapt a format from European print culture to present a fascinating aspect of street culture in Yaoundé: ‘le marchand ambulant’ ie the street criers and hawkers of the capital city.

When we say the Cries we refer to a type of image that documented the appearances and daily performances of the street criers of early modern Europe, over time constituting an extraordinary visual history of these liminal populations who operated on the margins of mainstream commerce yet played a central role in marketing consumer goods to poorer customers. In Europe, street criers have disappeared but the imagery remains, providing a social art history of the street vendors who worked in cities like Bologna, Rome, Paris, London and Dublin. My plan is to take the format and use it to investigate the hawkers and criers of contemporary Yaoundé and see what it can produce….

 

 

 

 

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kategrandjouan

kategrandjouan

Art historian of eighteenth century British art writing a book about depictions of the French in English graphic satire. Interested in art, satire, ethnicity and identity

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A Conference and Lecture Series of the Humanities Institute, University at Buffalo, State University of New York, 2012-13

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