Jeremy Wood

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  Nottingham
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  UK
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• jeremy.wood@nottingham.ac.uk

Biography

I was Professor of History of Art before my retirement (2015) and I remain an Associate with responsibility for several PhD supervisions. I remain an active scholar and my past and ongoing projects are outlined under the Expertise Summaries below. In addition, I am currently External Examiner for the MA in Art History, Curatorship and Renaissance Culture at the Warburg Institute, University of London.

In addition to my teaching and research activities, I have given lectures and conference papers at universities, museums and galleries throughout Great Britain, and, internationally, in the U.S.A. and Canada at Queen's University, Kingston, Ontario (2003); the J. Paul Getty Museum and the Getty Center for the History of Art and the Humanities (1995); the Museum of Fine Arts, Boston (1993); and the National Gallery of Art, Washington, and the University of Maryland (1991) amongst others. In Europe I have contributed conference papers and lectures at the Statens Museum for Kunst, Copenhagen (2012); the Rubenianum and Wetenschappelijk Onderzoeksgemeenschap Vlaamse Renaissance- en Barokkunst and the Rubenianum, Antwerp (1997, 1999, 2010, 2012); the Fondación Carlos de Amberes, Madrid (2010); the National Foundation Princess Marie-José, Brussels (2009) and the Royal Library, The Hague (1996), amongst others.

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 careers of the Flemish artists Peter Paul Rubens and Anthony van Dyck. I have also published extensively on seventeenth-century British art, in particular during the reign of Charles I, and on the history of collecting drawings, including the activities Nicholas Lanier (in Collecting Prints and Drawings in Europe c.1500-1750, ed. Christopher Baker, Caroline Elam, and Genevieve Warwick, 2003), and Padre Sebastiano Resta (Master Drawings 1996, 1998).

1. RUBENS. My main focus has been on Rubens's study and imitation of Italian art. My research on this topic has appeared as part XXVI (2) of the Corpus Rubenianum Ludwig Burchard on Rubens's copies and adaptations from Renaissance and Later Artists, a study that was published as three separate volumes. The first and second, on Raphael and his School (ISBN 978-1-905375-39-4) and Titian and North Italian Artists (ISBN 978-1-905375-40-0) respectively, were published in 2010, and the third, on Artists working in Central Italy and France (ISBN 978-1-905375-41-7) in 2011.

I was curator of the exhibition Rubens. Drawing on Italy, held at the National Gallery of Scotland, Edinburgh, and the Djanogly Art Gallery, University of Nottingham, in 2002, and sole author of its catalogue (ISBN 1-903278-31-7). Before then I contributed to and edited (with Catherine Whistler) the catalogue Rubens in Oxford: An exhibition of drawings from Christ Church and the Ashmolean Museum (1988) and contributed to Rubens and the Italian Renaissance at the Australian National Gallery, Canberra (1992). More recently, I wrote part of the exhibition catalogue Rubens im Wettstreit mit Alten Meistern, Vorbild und Neurfindung for the Bayerische Staatsgemalesammlungen at the Alte Pinakothek, Munich (2009-10).

Essays by me on Rubens have appeared in Apollo (1995), Concept, Design and Execution in Flemish Painting 1550-1700 (ed. Arnout Balis and Carl Van de Velde, 2000), Munuscula amicorum. Contributions on Rubens and his Colleagues in honour of Hans Vlieghe (ed. Katlijne Van der Stighelen, 2006), and European Paintings 15th-18th Century. Copying, Replicating and Emulating (2014).

2. ANTHONY VAN DYCK. The main focus of my work on this artist has concerned his career in England between 1632 and his death in 1641. I have contributed essays on his collection in The Burlington Magazine (1990), on his work for the duke of Buckingham in Apollo (1992), for the earl of Northumberland in Van Dyck 350 (ed. Susan J. Barnes and Arthur K. Wheelock, Jr. , 1994), and for the earl of Bedford in Anthony van Dyck Conjectures and Refutations (ed. Hans Vlieghe, 2001). I contributed the entry 'Sir Anthony van Dyck' in the Oxford Dictionary of National Biography. Among my forthcoming publications is a study of Van Dyck dealings with James, 3^rd marquis of Hamilton and the arrival of the collection of Bartolomeo della Nave in England, that will appear in the annual volume of the Walpole Society.

3. COURT OF CHARLES I. I have also written on patronage and collecting in England during the early seventeenth century notably on Inigo Jones in The Stuart Courts (ed. Eveline Cruickshanks, 2000) and The Art Bulletin (1992), and on Peter Oliver in Master Drawings (1998). My studies of Orazio Gentileschi's career in England have appeared in Simiolus (2000-01), and, in collaboration with Gabriele Finaldi, in the catalogue of the exhibition Orazio and Artemisia Gentileschi (ed. Keith Christiansen and Judith W. Mann, 2001). Other studies have included the architectural patronage of the 10^th earl of Northumberland in English Architecture: Public and Private (ed. John Bold and Edward Chaney, 1993), and a discussion of Caravaggism in England has appeared in I Caravaggeschi. Nell'anno di Caravaggio. Il primo repertorio completo dedicato al pittori caravaggeschi in Europa (ed. Claudio Strinati and Aessandro Zuccari, 2010).

Recent Publications

• 2014. 'The Problem of the Portrait Copies painted by Rubens in Madrid, 1628-29'. In: European Paintings 15th-18th Century. Copying, Replicating and Emulating. CATS Proceedings I, 2012 Archetype Publications in association with CATS (Centre for Art Technological Studies and Conservation), London. 87-94
• 2011. 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.
• 2010. 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. 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.

• View all publications

• 2014. 'The Problem of the Portrait Copies painted by Rubens in Madrid, 1628-29'. In: European Paintings 15th-18th Century. Copying, Replicating and Emulating. CATS Proceedings I, 2012 Archetype Publications in association with CATS (Centre for Art Technological Studies and Conservation), London. 87-94
• 2011. 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.
• 2010. 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. 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. 'Caravaggio and the British'. In: CLAUDIO STRINATI and AESSANDRO ZUCCARI, eds., I Caravaggeschi. Nell'anno di Caravaggio. Il primo repertorio completo dedicato al pittori caravaggeschi in Europa Skira Editore, Milan. 275-283
• 2010. 'Connoisseurship of the Arts'. In: Nicholas Lanier, 1588-1666. A Portrait Revealed The Weiss Gallery, London. 39-49
• 2009. 'The Man who would be British' Tate Etc. 15, 48-51
• 2009. 'Rubens' italienische Kopien. Ein chronologischer Abriss'. In: Rubens im Wettstreit mit Alten Meistern. Vorbild und Neuerfindung (Bayerischen Staatsgemäldesammlungen, Alte Pinakothek, Munich, 2009-10) Hatje Cantz Verlag, Ostfildern. 56-81
• 2009. No. 1, 'Isabella d'Este, Markgräfin von Mantua, in Rot' (134-139); No. 2, 'Kaiser Karl V' (140-149); No. 4, 'Amor schnitz den Bogen' (156-163); No. 9, 'Prinz Philipp von Spanien im Prunkharnisch' (186-195); No. 10, 'Dame in Weiß' (196-201); No. 11, 'Mädchen mit Fächer' (202-207); No. 12, Titian, 'Adam und Eva' (208-213); No. 13, 'Adam und Eva' (214-219); No. 14, 'Raub der Europa' (220-227); No. 15, 'Mädchen im Pelz' (228-235). In: Rubens im Wettstreit mit Alten Meistern. Vorbild und Neuerfindung (Bayerischen Staatsgemäldesammlungen, Alte Pinakothek, Munich, 2009-10) Hatje Cantz Verlag, Ostfildern.
• 2006. 'Rubens and Raphael: The Designs for the Tapestries in the Sistine Chapel'. In: KATLIJNE VAN DER STIGHELEN, ed., Munuscula amicorum. Contributions on Rubens and his Colleagues in honour of Hans Vlieghe Brepols, Turnhout. 259-282
• 2005. Introduction. In: Lives of Rubens by Giovanni Baglione, Joachim von Sandrart, Roger de Piles London: Pallas Athene. 7-22
• 2003. 'Nicholas Lanier (1588-1666) and the Origins of Drawings Collecting in Stuart England'. In: CHRISTOPHER BAKER, CAROLINE ELAM and GENEVIEVE WARWICK, eds., Collecting Prints and Drawings in Europe, c.1500-1750 Ashgate in association with The Burlington Magazine. 85-121
• 2002. Rubens. Drawing on Italy National Gallery of Scotland, Edinburgh.
• 2001. 'Van Dyck: A Catholic Artist in Protestant England, and the Notes on Painting Compiled by Francis Russell, 4th Earl of Bedford'. In: HANS VLIEGHE, ed., Anthony van Dyck (1599-1641): Conjectures and Refutations Brepols Publishers, Turnhout. 167-198
• 2001. 'Orazio Gentileschi at the Court of Charles I'. In: KEITH CHRISTIANSEN and JUDITH W. MANN, eds., Orazio and Artemisia Gentileschi The Metropolitan Museum of Art, New York, and Yale University Press, New Haven and London. 223-231
• 2001. 'Orazio Gentileschi alla corte di Carlo I'. In: KEITH CHRISTIANSEN and JUDITH W. MANN, eds., Orazio e Artemisia Gentileschi Palazzo Venezia, Rome, and Skira, Milan. 223-231
• 2000. 'Rubens as Thief'. In: HANS VLIEGHE, ARNOUT BALIS and CARL VAN DE VELDE, eds., Concept, Design and Execution in Flemish Painting (1550-1700) Brepols Publishers, Turnhout. 153-170
• 2000. 'Taste and Connoisseurship at the Court of Charles I: Inigo Jones and the Work of Giulio Romano'. In: EVELINE CRUICKSHANKS, ed., The Stuart Courts Sutton Publishing, Stroud. 118-140
• 2000. 'Orazio Gentileschi and some Netherlandish artists in London: the patronage of the Duke of Buckingham, Charles I, and Henrietta Maria' Simiolus: Netherlands Quarterly for the History of Art. XXVIII(3), 103-128
• 1999. 'Raphael Copies and Exemplary Picture Galleries in Mid-Eighteenth Century London' Zeitschrift für Kunstgeschichte. LXII, 394-417
• 1998. 'Peter Oliver at the Court of Charles I: New Drawings and Documents' Master Drawings. XXXVI(2), 123-153
• 1996. 'Padre Resta as a Collector of Carracci Drawings' Master Drawings. XXXIV(1), 3-71
• 1995. '"Damaged by Time and Rubens": Rubens's Restorations and Retouchings' Apollo. CXLII(406 New Series), 16-23
• 1994. 'Van Dyck and the Earl of Northumberland: Taste and Collecting in Stuart England'. In: SUSAN J. BARNES and ARTHUR K. WHEELOCK, JR, eds., Van Dyck: 350, Studies in the History of Art 46, Symposium Papers XXVI National Gallery of Art, Washington. 281-324
• 1994. 'Rubens's Collection of Drawings: His Attributions and Inscriptions' Wallraf-Richartz-Jahrbuch: Studien zür niederländischen Kunst: Festschrift für Prof. Dr. Justus Müller Hofstede,. LV, 333-351
• 1993. 'The Architectural Patronage of Algernon Percy, 10th Earl of Northumberland'. In: JOHN BOLD and EDWARD CHANEY, eds., English Architecture, Public and Private: Essays for Kerry Downes The Hambledon Press, London and Rio Grande. 55-80
• 1992. 'Van Dyck's Pictures for the Duke of Buckingham: The Elephant in the Carpet and the Dead Tree with Ivy' Apollo. CXXXVI(365 New Series), 37-47
• 1992. 'Inigo Jones, Italian Art, and the Practice of Drawing' Art Bulletin. LXXIV, 247-270
• 1992. Entries for Catalogue No. 32, Rubens, Leda and the Swan after Michelangelo (pp. 114-116); No. 40, Rubens, The Emperor Charles V after Titian (pp. 140-142); No. 48, Rubens, Portrait of a Young Lady after Titian (pp. 164-166); No. 49, Rubens, Woman with a Fan after Titian (pp. 168-170). In: Rubens and the Italian Renaissance Australian National Gallery, Canberra.
• 1990. 'Padre Resta's Flemish Drawings: Van Diepenbeeck, Van Thulden, Rubens, and the School of Fontainebleau' Master Drawings. XXVIII, 3-53
• 1990. 'Van Dyck's "Cabinet de Titien": The Contents and Dispersal of his Collection' The Burlington Magazine. CXXXII, 680-695
• 1989. 'Rubens or van Dyck? "Mucius Scaevola before Lars Porsenna" and some Problematic Drawings' Mercury. 10, 26-40
• 1988. 'Cannibalized Prints and Early Art History: Vasari, Bellori and Fréart de Chambray on Raphael' Journal of the Warburg and Courtauld Institutes. LI, 210-220
• 1988. 'Some Early Collectors of Rubens Drawings in England'. In: CATHERINE WHISTLER and JEREMY WOOD, eds., Rubens in Oxford: An Exhibition of Drawings from Christ Church and the Ashmolean Museum The Picture Gallery, Christ Church, Oxford, and P. & D. Colnaghi & Co., London. 8-18