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.
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, 3rd 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 10th 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).
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