Contact
- workDepartment of Art History, Lakeside Arts Centre
University Park
Nottingham
NG7 2RD
UK - work0115 95 13187
- fax0115 84 67778
- jeremy.wood@nottingham.ac.uk
Expertise Summary
I work on aspects of the study, imitation and collecting of Italian art in Northern Europe during the seventeenth-century, and, in particular, on the work of Rubens and Van Dyck. My long-term project has been the completion of Volume XXVI (part 2) of the Corpus Rubenianum Ludwig Burchard which is a multi-volume series cataloguing all of Rubens's work, funded by the City of Antwerp. My contribution is on Rubens's copies after Italian art and was published in three volumes in 2010 and 2012. I was curator of the exhibition Rubens. Drawing on Italy which was held at the National Gallery of Scotland in Edinburgh (June-September 2002) and the Djanogly Art Gallery at the University of Nottingham (September-December 2002). More recently I contributed to the catalogue for an an exhibition on Rubens and the Old Masters held at the Alte Pinakothek, Munich (Rubens im Wettstreit mit Alten Meistern. Vorbild und Neuerfindung). In addition, I have published widely on seventeenth-century British art, in particular artists active during the reign of Charles I, and on the history of collecting.
Awards In 2001-02 I was granted an award a year's research leave by the Arts and Humanities Research Board to work on the volume of the Corpus Rubenianum Ludwig Burchard, discussed above. In 2002 I made a successful application to the British Academy to fund the conference Rubens and Italian Art at the University of Nottingham (November 2002).
Teaching Summary
My teaching is focussed on a group of historically focused modules dealing with European art of the seventeenth century. These aim to set key artists within their context and include modules on… read more
Research Summary
My research and publications are focused on art and collecting in Northern Europe, in particular Flanders and England, during the seventeenth century.
I am currently preparing a monograph on the career of Anthony van Dyck in Britain during the1630s. In it, I will address the question of how Van Dyck engaged with the volatile world of court patronage in London, how he gained access to the crown, and how he navigated the geography of the court and its hierarchies. I will ask where were Van Dyck's portraits displayed at court and who saw them? I will take into account Van Dyck's dealings with the art world of Stuart London, its parish networks and the tensions within the community of foreign artists, but, a.bove all, I will be concerned with how van Dyck related to the cultural and political factions within the Stuart court .
Completed Ph.D. supervision
Anne Brookes, Richard Symonds in Italy, 1649-1651 (Supervision begun at Oxford Brookes University, 1994; transferred to University of Nottingham, October 1996; completed 2000). I would be very interested in hearing from prospective PhD students interested in working in the areas mentioned above, particularly Flemish and British art of the seventeenth century, and the history of collecting.
Selected Publications
WOOD, JEREMY, 2011. Rubens. Copies and Adaptations from Renaissance and Later Artists: Italian Artists: III. Artists Working in Central Italy and France London-Turnhout: Harvey Miller Publishers.
WOOD, JEREMY, 2010. Rubens, Copies and Adaptations from Renaissance and Later Artists. Italian Artists: I. Raphael and his School London-Turnhout: Harvey Miller Publishers.
WOOD, JEREMY, 2010. Rubens. Copies and Adaptations from Renaissance and Later Masters. Italian Artists.: II. Titian and North Italian Art London-Turnhout: Harvey Miller Publishers.
WOOD, JEREMY, 2010. Connoisseurship of the Arts. In: Nicholas Lanier, 1588-1666: A Portrait Revealed. London: The Weiss Gallery. 39-49
Past Research
My research and publications are focused on the copying and collecting of Italian art in Northern Europe, in particular Flanders and England, during the seventeenth century.
1. RUBENS. For some years I have been preparing the volumes on Rubens's copies after Italian art for the Corpus Rubenianum Ludwig Burchard and these were published in 2010 and 2011.
I. Rubens. Copies and Adaptations from Renaissance and Later Artists. Italian Artists, I. Raphael and his School, 2 vols (Corpus Rubenianum Ludwig Burchard, Part XXVI, 2), Harvey Miller Publishers, London and Turnhout, 2010. (ISBN 978-1-905375-39-4, set; volume 1: 978-1-905375-65-3, volume 2: 978-1-905375-66-0)
II. Rubens. Copies and Adaptations from Renaissance and Later Artists. Italian Artists, II. Titian and North Italian Artists, 2 vols (Corpus Rubenianum Ludwig Burchard, Part XXVI, 2), Harvey Miller Publishers, London and Turnhout, 2010. (ISBN 978-1-905375-40-0, set; volume 1: 978-1-905375-73-8; volume 2: 978-1-905375-74-5)
III. Rubens. Copies and Adaptations from Renaissance and Later Artists. Italian Artists, III. Artists working in Central Italy and France, 2 vols (Corpus Rubenianum Ludwig Burchard, Part XXVI, 2), Harvey Miller Publishers, London and Turnhout, 2011 (ISBN 978-1-905375-41-7, set; volume 1: 978-905375-79-0, volume 2: 978-1-905375-80-6).
This project was partly prepared as curator and author of the exhibition on Rubens's copies held at Edinburgh and Nottingham in 2002. The related publication, of which I was sole author, was Rubens. Drawing on Italy, National Gallery of Scotland, Edinburgh, 2002. 96 pp. (ISBN 1 903278 31 7).
I worked with Reinhold Baumstark and Mirjam Neumeister on an exhibition on Rubens and the Old Masters held at the Alte Pinakothek, Munich, at the end of 2009. The related publication was Rubens im Wettstreit mit Alten Meistern. Vorbild und Neuerfindung (Bayerischen Staatsgemäldesammlungen, Alte Pinakothek, Munich, 2009-10), Hatje Cantz Verlag, Ostfildern, 2009, pp. 56-81 (ISBN 978-3-7757-2513-2), to which I contributed an essay and a number of catalogue entries.
I have written essays on Rubens in Munuscula amicorum. Contributions on Rubens and his colleagues in honour of Hans Vlieghe (2006); Concept, Design and Execution in Flemish Painting (2000); and in the following journals: Apollo (1995), Wallraf-Richartz-Jahrbuch (1994), and Master Drawings (1990).
2. COURT OF CHARLES I. I have also written on patronage and collecting at the court of Charles I in England.
The main focus of my work in this area has been on the career of Van Dyck, with essays on his collection in The Burlington Magazine (1990), for his work for the earl of Northumberland Van Dyck 350 (1994), and for the earl of Bedford in Anthony van Dyck Conjectures and Refutations (2001). I contributed the entry 'Sir Anthony van Dyck' in the Oxford Dictionary of National Biography, ed. H.C.G. Matthew and Brian Harrison, Oxford, 2004, XVII, pp. 466-475
In addition, I work on the careers of artists and collectors at the Stuart court, notably Inigo Jones in The Stuart Courts (2000) and The Art Bulletin (1992), on Orazio Gentileschi in Simiolus (2000-01), Nicholas Lanier in Collecting Prints and Drawings in Europe c1500-1750 (2003), and Peter Oliver in Master Drawings (1998). A discussion of Caravaggism in England has recently appeared in I Caravaggeschi. Nell'anno di Caravaggio. Il primo repertorio completo dedicato al pittori caravaggeschi in Europa, ed. Claudio Strinati and Aessandro Zuccari, Skira Editore, Milan, 2010, I, pp. 275-283 (ISBN-10: 8884912822; ISBN-13: 979-88894912824).