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Article in preparation for publication in 2024

‘Facticity and Virtual Witnessing in Hogarth’s Crime Media’ for a special issue of
Ecrans (No. 20, Spring 2024) in French and English entitled ‘Hogarth and the Cinema.’ This multi-authored volume will discuss the filmic potentialities of Hogarth’s work. My paper examines the first sequential Progress published in 1732, A Harlot’s Progress, to argue that Hogarth invented a visual mode of persuasive argumentation that was – and is – analogous to the trial narrative and to the visual re-enactment of crimes. Considered from the present, his pictorial sequences, which included portraits of convicted criminals and imaginative offenders, offer an entry point into the filmic versions of the trial in mass media. As re-inscriptions of contemporary crime, vividly situated in topographic London settings, the stories were organised into episodic ‘scenes’. They were novel mass-media constructions, printed and sold in series and viewed by thousands, whose acute and specific reality effects were noted by contemporaries. Widely distributed, copied and imitated, Hogarth’s crime media would evolve into increasingly melodramatic visual stories of transgression, punishment and death. Contemporary cultural criminology analyses the causal linkages between crime and its mass-media constructions, investigating how the hyper-real cinematic imaginations of crime and crime control instantiates ‘a media loop’ (Manning: 1998). This paper argues that analogous relationships, comparable ‘media loops’, were invented by Hogarth. Maybe this is where they emerge: in his immersive, sequential viewing experiences which constructed their publics as virtual witnesses to the crimes and transgressions he was depicting. A hyper-real and densely detailed visuality was presented as crime evidence to a viewing public who was called upon to see and experience virtually, contemporary crime scenes. Hogath’s public was constituted as a surrogate jury and prompted to reflect and react experientially.

Published in 2022

With Manchester University Press for 2021: A chapter (25 pages) called ‘Aesop, intermediality and the graphic satire, c. 1740’ in a book examining the role of media in the expression and dissemination of satire in early modern Europe. Changing Satire: Transformations and Continuities in Europe, 1600-1830 is edited by Per Sivefors, Cecilia Rosengren and Rikard Wingard of the University of Gothenburg. Among the contributors are Howard Weinbrot (University of Wisconsin-Madison), Reva Wolf (State University of New York), Victoria Moul (King’s College, London), Joris van Gastel (Bibliotheca Herziana, Rome), David Currell (American University of Beirut), Corinna Onelli (CRH-EHESS, Paris), Camilla Murgia (EPSU, Geneva) and Maire MacNeill (Royal Holloway).

More information here: https://manchesteruniversitypress.co.uk/9781526146113/

Published in 2020

‘Refugees, Patriotism, and Hogarth’s ‘The Gate of Calais’ (1748) was published in December 2020 in Studies in Ethnicity and Nationalism: Vol. 20, No. 3, 2020. To read an extract, click on the link below:

Published in 2019

In April 2019 in French with Oxford University Studies in the Enlightenment and Liverpool University Press: a 19-page chapter examining the use of dance as a mode of satirical characterization called ‘Parce que les Français, comme la mer, sont sans cesse en mouvement : satires anglaises sur l’inconstance des Français’. The work is included in a volume of essays examining the concept of ‘lightness’ in eighteenth-century thought in Le Siècle de la Légèreté: Emergences d’un paradigme du XVIIIème siècle français edited by Marine Ganofsky and Jean-Alexandre Perras. See //www.voltaire.ox.ac.uk/news/blog/age-lightness

With INHA in June 2019 in French on caricature and the Royal Academy in the eighteenth century, ‘La « déqualification » de l’art: la caricature et l’exposition publique à Londres c.1769-1783 (18 pages) for an online collection of essays called L’image railleuse: modalités visuelles du satirique edited by Laurent Baridon, Frédérique Desbussions et Dominic Hardy and published by the Conseil de recherches en sciences humaines du Canada (CRSH) and the Institut national d’histoire de l’art (INHA, Paris) Open Edition Collection see https://books.openedition.org/inha/7923?format=toc

Published in 2015-16

Thomas Rowlandson, (1756–1827), British, Place des Victoires, Paris, ca. 1783, Watercolor in pen and black ink over graphite on medium, moderately textured, cream antique laid paper, Yale Center for British Art, Paul Mellon Fund

With British Art Studies in November 2016, ‘Super-size caricature: Thomas Rowlandson’s ‘Place des Victoires’ at the Society of Artists in 1783’ (article) in British Art Studies, Issue 4, November 2016 an interactive online journal dedicated to publishing research on “British art” and published by the Paul Mellon Centre for Studies in British Art, London. This issue was devoted to exhibitions see https://www.britishartstudies.ac.uk/issues/issue-index/issue-4/thomas-rowlandson

Published in Belgrade, 2015-16

On food and graphic satire with the University of Belgrade: ‘Body Politics: Charles Brandoin’s France England, 1772’ (16-page article) in Matica Srpska Journal for the Fine Arts, (University of Belgrade, Faculty of Philosophy), Vol 43, October 2015: pp. 65-80 see http://www.maticasrpska.org.rs/stariSajt/casopisi/ZMSLU_43.pdfOn

On surrealism in French with the University of Belgrade: ‘Le Surréalisme Transnationalisé : L’exposition internationale de 1936’ (article) in Avant-Gardes: from Dada to Surrealism (Belgrade, Museum of Contemporary Art, January, 2016), pp. 95-109

An essay on contemporary serbian print-making for the catalogue to an exhibition of prints by Aleksandar Mladenovića Leke Professor of Printmaking at the School of Fine Arts, Ozone Art Space, Belgrade, July-August 2015

Balkan Arts and Beyond: my blog on the exciting contemporary arts scene in Belgrade, accessible here: https://balkanartsandbeyond.wordpress.com/

Exhibition Reviews for the British Society of Eighteenth-Century Studies 2013-14

‘Caravaggio to Canaletto: The Glory of Italian Baroque and Rococo Painting’ at the Szépmûvészeti Múzeum, Budapest, June 2014 at https://www.bsecs.org.uk/criticks-reviews/caravaggio-
to-canaletto-the-glory-of-italian-baroque-and-rococo-painting/


‘Curious Beasts: Animal Prints from the British Museum’ at Compton Verney, U.K., January 2014 at https://www.bsecs.org.uk/criticks-reviews/curious-beasts-animal-prints-from-the-british-museum/


‘Raynal, Un Regard vers l’Amérique’ at the Bibliothèque Mazarine, Paris, September, 2013 at https://www.bsecs.org.uk/criticks-reviews/raynal-un-regard-vers-lamerique/


‘Broadsides: Caricature and the Navy 1755-1815’ at Greenwich Maritime Museum, London, January 2013 at https://www.bsecs.org.uk/criticks-reviews/broadsides-caricature-and-the-navy-1755-1815/

‘Physionotraces: Galerie de Portraits de la Revolution à l’Empire’, at the Musée des Arts Décoratifs, Paris, July 2012 at https://www.bsecs.org.uk/criticks-reviews/physionotraces-galerie-de-portraitsde-la-revolution-a-lempire/ 

To see a physionotrace… https://commons.wikimedia.org/wiki/File:Portrait_of_a_Man_by_Edme_Quenedey,_1803,_physionotrace_and_aquatint,_Honolulu_Museum_of_Art.JPG

Book Reviews for the Society of Eighteenth-Century Studies

‘Hogarth’s Hidden Parts: Satiric Allusion, Erotic Wit, Blasphemous Bawdiness and Dark Humour in Eighteenth-Century English Art’ by Bernd Krysmanski in Eighteenth-Century Studies, Volume 45, Number 2, Winter 2012: see http://muse.jhu.edu/login?auth=0&type=summary&url=/journals/
eighteenth-century_studies/v045/45.2.grandjouan.html

‘Guess at the Rest”: Cracking the Hogarthian Code’ by Elisabeth Soulier-Detis see in Eighteenth-Century Studies, Volume 45, Number 2, Winter 2012 see http://muse.jhu.edu/article/464816

kategrandjouan@gmail.com

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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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