About Dr Kate Grandjouan
Dr Kate Grandjouan is an Assistant Professor in Art History at the New College of Humanities where she teaches European and North American painting post-1700. She joined Northeastern University London in 2019 from the Courtauld. Since September 2020, she has been a Tutor in Art History at ICE/University of Cambridge and she continues to lecture for the Courtauld’s Public Programmes. Her post-doctoral research has been supported by the Paul Mellon Centre for Studies in British Art, London and the University of Yale (Lewis Walpole Library), and has been published internationally in different languages.
PhD in Art History, The Courtauld Institute of Art (University of London), UK
MA in Art History & Archaeology, University of Maryland, MD, USA
Maîtrise de Littérature française, Université de Paris IV, (La Sorbonne), France.
BA (Combined Hons) in French and History of Art, University of Kent, UK
2017: Visiting Scholar, Lewis Walpole Library (Yale University), Farmington,
2011: Post-Doctoral Fellowship, Paul Mellon Centre for Studies in British Art,
2022: ‘Aesop, intermediality and graphic satire c.1740’ in ‘Changing Satire: Transformations and Continuities in Europe 1600 – 1830’, edited by Cecilia Rosengren, Per Sivefors and Rikard Wingård (chapter in book) with Manchester University Press. http://www.jstor.org/stable/j.ctv2gvdmgw
2020: ‘Refugees, Patriotism and Hogarth’s The Gate of Calais (1748)’ in Studies in Ethnicity and Nationalism, pp. 287-303, Vol. 20, No. 3, 2020, https://doi.org/10.1111/sena.12336
2019: ‘La caricature et la « déqualification » de l’art: le cas de Henry Bunbury (1750-1810) et de Thomas Rowlandson (1756-1827)’ (18 pages) in Satire Visuelle (ed.) Laurent Baridon, Frédérique Desbussions et Dominic Hardy published by INHA, Paris (National Insitute for History of Art) see
2019: ’Parce que les Français, comme la mer, sont sans cesse en mouvement: satires anglaises sur l’inconstance des Français’ (19 pages) Le Siècle de la Légèreté: Emergences d’un paradigme du XVIIIe siècle français for Oxford University Studies in the Enlightenment edited by Marine Ganofsky (University of Edinburgh) and Jean-Alexandre Perras see https://www.fabula.org/actualites/m-ganofsky-and-j-perras-dir-le-siecle-de-la-legerete-emergences-d-un-paradigme-du-xviiie-siecle_90468.php
2016: ’Super-size caricature: Thomas Rowlandson’s ‘Place des Victoires’ at the Society of Artists in 1783’ with British Art Studies Volume 4, an online, open access and peer-reviewed journal published by The Paul Mellon Centre for Studies in British Art in London and the Yale Center for British Art in New Haven, see: http://www.britishartstudies.ac.uk/issues/issue-index/issue-4
February, 2021: for the 94th meeting of the Ottoline Club at Northeastern University London a research paper called: ‘Creative Synergies: British Newsprint and Satirical Media, c.1740.’
September 2020: Invited speaker for the conference ‘Prints in their Place: New Research on Printed Images in their Places of Production, Sale and Use’ organised by Harvard University and the Courtauld but cancelled due to Covid. The call for papers is here: https://emworkshop.fas.harvard.edu/node/1472257
November 2019: invited speaker at the Paul Mellon Centre for Studies in British Art, London: ’Moral Geography in Marriage à la Mode: Hogarth’s Dirty French’, International conference coinciding with the Hogarth: Place and Progress exhibition at the Sir John Soane’s Museum, London
October 2019: BBC, London for ‘Start the Week’ with Andrew Marr to discuss the William Hogarth exhibition at the Sir John Soane’s Museum: https://www.bbc.co.uk/programmes/m0009r4j
January 2019: Courtauld, London: ‘James Thornhill and his contemporaries’, public lecture for the 13th season of the ‘Showcasing Art History Lecture Series’ organised by the Public Programmes department. The theme was Britain in Europe – Encounters in Art: 18th century to 2018
Dr Kate Grandjouan's Research
My particular area of expertise is in British visual culture c.1660-1830. My specialisation is an area of art history which is heavily dependent on digital resources. I work on print media, I am interested in art and replication and thinking about how visual images participate in the production and transmission of knowledge. I write about the image as a powerful tool for indoctrination, capable of both affirming and undermining social and political identities and serving as the vector of national and cultural myths. Current research relates to a book nearing completion, provisionally entitled ‘Hogarth’s French’, which investigates the relationship between visual satire, print-culture and national identity in 18th-century Britain.
I see art history as a core component of an interdisciplinary university education. My approach is to make learning art history a conversational ‘to and fro’. I encourage students to create content and to learn from each other. I am convinced that teaching art history facilitates empathy, in that it can give students the ability to understand each other better.
At Northeastern University London, I have collaborated with the English and History faculties to produce art history video content for a ‘Culture, Crisis and the City’ course. Together with my colleague Rixt Woudstra, and Northeastern’s Digital Integration Teaching Initiative, we are currently devising an ‘Imperial Objects’ course which will investigate the material cultures of Empire.
Dr Kate Grandjouan's Teaching
BA2: ‘French Painting from Chardin to Matisse’ which provides a wide-ranging introduction to European painting between c.1700 and 1930, focusing on the major ‘isms’ of the period and paying particular attention to the political and social conditions within which art was produced.
BA2: ‘Theory & Methodology for Art History’: which introduces students to key thinkers and the theoretical writings that have become central to the practice of art history.
BA3: ‘The Elegiac Landscape’ where we study the aesthetics of decay and destruction, against the backdrop of Empire and Enlightenment, romantic literature and philosophy, as well as the nationalist struggles that resulted in modern warfare. A wide range of visual media is discussed, ranging from the prints of Piranesi and the paintings of Hubert Robert to the films of Alexandre Sokurov and Terence Mallick.
BA3: ‘Masters of America’ which tracks the development of American art from the mid-eighteenth century to the early twentieth century following the interactions and synergies between American and European art worlds.
BA3 ‘Modern Art & Architecture Part 1’ offering a survey of the major shifts in painting and design from 1850-1920
Student dissertations supervised by Dr Kate Grandjouan:
A comparison of the representation of mourning in Jacques-Louis David’s paintings Andromache mourning Hector (1783) and The Death of Marat (1793)
The Female Nude as a ‘Prized Possession’: The Commodification of Amedeo Modigliani’s Female Nude Paintings from 1916-1917
‘Veterans’ and ‘Whores’ in Otto Dix’s Metropolis (1927-8): a private war memorial for the First World War
Marc Chagall’s White Crucifixion (1938) as a transcultural work of Art
‘Picturesque Revival: Landscape, ruins and national identity in “The Picture Post”.