Barry Pearce, curator, author, researcher, lecturer, educator, and commentator was born in Adelaide, South Australia and studied at the University of Adelaide, Western Teachers College and the South Australian School of Art. He began his career at the Art Gallery of South Australia Barry moved to London where he lived and studied at the British Museum's Department of Prints and Drawings as a Harold Wright Scholar. On his return to Australia in 1975 he was appointed the first Curator of Prints and Drawings at the Art Gallery of South Australia; two years later he became Curator of Paintings at the Art Gallery of Western Australia. In 1978 he was appointed Curator of Australian Art at the Art Gallery of New South Wales and later became Head Curator of Australian Art.
Over three decades there he has curated many exhibitions, including major retrospectives of the work of Sali Herman, Elioth Gruner, John Passmore, Donald Friend, Arthur Boyd, Brett Whiteley, Margaret Olley, Charles Conder, Sidney Nolan and Justin O'Brien, among others, each accompanied by publications which remain definitive texts in their field. He has written many other essays on aspects of Australian art for magazines, journals and catalogues, has lectured extensively, and has acted as an ambassador of Australian art in connection with various international projects.
Barry Pearce has lectured extensively in the field of Australian art, historical to contemporary, and European art where passion dictates over four decades. He has also appeared in many television documentaries and radio programs on the subject of Australian art, Sidney Nolan and Ballet Russes for ABC TV, with a film in preparation on Justin O'Brien.
Barry has a particular interest in the profound impact of Paris on the careers of 20th century Australian painters.
He retired from the Art Gallery of New South Wales in early 2011 but remains affiliated as its inaugural Emeritus Curator of Australian Art. Recently, Barry became a Fellow of the University of South Australia for his invaluable contribution to Australian art and his alma mater, UniSA.
Born in London in 1960, Andrew Graham-Dixon is one of the leading art critics and presenters of arts television in the English-speaking world. He has presented numerous landmark series on art for the BBC, including the acclaimed A History of British Art, Renaissance and Art of Eternity, as well as numerous individual documentaries on art and artists. For more than twenty years he has published a weekly column on art, first in the Independent and, more recently, in the Sunday Telegraph. He has written a number of acclaimed books, on subjects ranging from medieval painting and sculpture to the art of the present.
Andrew has a long history of public service in the field of the visual arts, having judged the Turner Prize, the BP National Portrait Prize and the Annual British Animation Awards, among many other prizes. He has served on the Government Art Collection Committee, the Hayward Advisory Committee, and is currently a member of the board of the Baltic Centre for Contemporary Art in Gateshead.
In the course of his career, Andrew has won numerous awards for writing and broadcasting and his achievements have been acclaimed by many of his most distinguished peers.
Andrew was educated at Westminster School before winning a scholarship to Christ Church, Oxford University, where he studied English Language and Literature (1978-81), graduating with a Double First. He pursued postgraduate studies at the Courtauld Institute of Art from 1982.
For more detailed information on Andrew Graham-Dixon please visit his website:
Dr Sheila McTighe was born and educated in the U.S.A., taking her PhD at Yale University in 1987, where her PhD dissertation was on the landscapes of Nicolas Poussin. She taught at Cornell University and Barnard College of Columbia University in the States before coming to the Courtauld Institute of Art at the University of London. Now an independent art historian, she has taught many BA, MA and PhD students in the field. Her publications focus on 17th century painting in Italy and France, and also on early modern print culture.
Her most recent publication is a book on the artistic practices associated with 17th-century realism, titled Representing from Life in 17th-century Italy (Amsterdam University Press, 2020). It contains studies of Caravaggio, Jacques Callot, Claude Lorrain, and Michelangelo Cerquozzi. A book in progress for the same press studies the iconography and patronage of genre painting and prints, with essays on pairings of artists in dialogue with one another through their works: Giovanna Garzoni and Vincenzo Campi, Sofonisba Anguissola and Caravaggio, Francesco Villamena and Annibale Carracci, Jacques Callot and Francesco Villamena. After a number of years working on realism and genre art in this period, she is now also returning to the art of Nicolas Poussin, with a new translation and study of his letters.
John Bonehill lectures in the history of art at the University of Glasgow, and has formerly held posts at the National Maritime Museum, Greenwich and Birkbeck, University of London.
His research interests lie predominantly in British art and culture of the long eighteenth century, with a particular concern in recent years for landscape and its representation. His publications include the co-edited volumes William Hodges 1744-1797: The Art of Exploration (2004) and Conflicting Visions: War and Visual Culture in Britain and France c.1700-1830 (2005). He has also published on aspects of the art of Allan Ramsay, Joshua Reynolds, William Hodges, Joseph Wright of Derby and J.M.W. Turner.
In 2009, he curated the touring exhibition Paul Sandby: Picturing Britain, a major re-assessment of a significant figure in the development of landscape painting in watercolour. His current research develops some of the themes of this exhibition, being a book-length study of estate portraiture of the period c.1640-1820, exploring the relationship of this little-studied genre to a range of cultural practices, including antiquarianism, gardening, poetry and domestic tourism, as well as the politics and practicalities of what was known at the time as 'improvement'.
Other on going research addresses the later career of Wright of Derby and drawing as a form of knowledge on natural history expeditions during the eighteenth century. He contributes regularly to academic conferences and workshops, and co-convened the international conference Landscape and 'the arts of prospect' in seventeenth-century Britain in 2011.
Carol Jacobi is a British art historian specialising in the nineteenth and twentieth centuries. She has a PhD in History of Art and an MA in English Literature from the University of London and has worked internationally as a lecturer, writer and curator. She is currently Curator of British Art 1850-1915 at Tate Britain in London. Carol has taught undergraduate and post-graduate programmes at Birkbeck College and the Courtauld Institute in London, Oxford Brookes University, Oxford and elsewhere. Her first post was at Lasalle College of the Arts, Singapore.
Her work is orientated towards redefining the way we look at modern British art in its international dimensions and she has published widely on this subject. In 2006 her book William Holman Hunt: Painter, Painting, Paint (Manchester University Press) reassessed this Pre-Raphaelite artist and she has also written about John Everett Millais.
In 2008 she co-curated the major exhibition William Holman Hunt and the Pre-Raphaelite Vision with the Art Gallery of Ontario, Canada which toured to Manchester Art Gallery, England and the Minneapolis Institute of Arts, USA. She has written about Alberto Giacometti and Francis Bacon and her monograph Out of the Cage: the Art of Isabel Rawsthorne (Yale University Press), revealing the 'lost' career of this twentieth century painter is forthcoming.
In 2008-9 she was Leverhulme Fellow in the History of Portraiture at the National Portrait Gallery, London and she has created exhibitions at the Oxford University Museum of Natural History, Oxford, Walsall New Art Gallery, Walsall as well as Tate.
Christopher Riopelle is the Neil Westreich Curator of Post 1800 Paintings at the National Gallery, London, and the Acting Curator of Eighteenth-century French Paintings. He has held curatorial positions at the J. Paul Getty Museum, California, and the Philadelphia Museum of Art, and has taught at the American College in Paris, New York University, New York, and the University of Pennsylvania, Philadelphia.
He has curated exhibitions on such French artists as Delacroix, Delaroche, Ingres, Rodin, Renoir, Degas and Gauguin. He has curated exhibitions on the Norwegian painter Peder Balke, the Spaniard Joaquín Sorolla, the Pole Jan Matejko and the Americans Thomas Cole and Frederic Church, as well as on Australian Impressionists, Italian Divisionists, and Picasso. Among contemporary artists, he has curated exhibitions in collaboration with Tim Gardiner, Richard Hamilton and Ed Ruscha. The history of landscape painting, especially the landscape oil sketch, is a particular scholarly interest. For the bicentenary of the National Gallery in 2024 he is preparing a major exhibition on Van Gogh.
Dr Paul Atterbury BA (Hons) is a writer, lecturer, exhibition curator and broadcaster who specialises in the art, architecture and design of the 19th and 20th centuries.
Having started as a graphic designer, he then worked in publishing before becoming Historical Advisor to the Royal Doulton Group, with responsibilities for setting up and running factory museums.
Later, he edited The Connoisseur magazine. As a writer, he has produced over forty books, on ceramics, silver and jewellery, sculpture, design and antiques generally, along with others on canals and railways. He has lectured on a wide range of art and design topics to societies and academic institutions throughout Britain, as well as in Australia, New Zealand, Canada, the United States and The Netherlands.
Paul has curated four exhibitions for the Victoria & Albert Museum in London, and others for institutions in New York.
As a broadcaster he has appeared often on TV and radio in the United Kingdom, but principally he has been a member of BBC's Antiques Roadshow team of experts for over twenty years, and his regular appearances often include discussions of objects from the Art Nouveau and Art Deco eras.
Paul Atterbury lives with his wife in Dorset, in southwest England, in a modern house that looks out over the sea.
David Cottington studied Philosophy, Politics and Economics at Oxford for a BA, and was an MA student at the Courtauld in 1970-2. After some years' teaching at the University of British Columbia in Vancouver he returned to study for a PhD at the Courtauld in 1978, and to write a thesis, completed in 1985, on 'Cubism and the Politics of Culture in France, 1905-1914'. For several years he led an MA course in '20th Century Art & Design: Histories & Theories' at University College Falmouth, where he was appointed its first Professor in 1994. He joined Kingston University in 2005, as Director of Postgraduate Studies in the Faculty of Art, Design & Architecture, and was appointed Professor of Art History the following year. The study of early 20th century Parisian modernism has until recently been his particular research interest. The objects of his current research are the histories and theories of the avant-garde, in particular the avant-garde formations of Europe before the First World War (he is presently writing a book on those of London and Paris in this period, for Yale University Press), and the recent and contemporary growth of the 'creative industries'.
David is an expert on cubism and early twentieth-century art in Paris, and has published several books on this subject. He has also recently published (in January 2013) 'The Avant-Garde: A Very Short Introduction', a volume in the 'Very Short Introductions' published by the Oxford University Press. His other publications have included 'Cubism in the Shadow of War: The Avant-Garde and Politics in Paris, 1905-1914' (Yale, 1998), 'Movements in Modern Art: Cubism' (Tate, 1998), Cubism and its Histories' (Manchester, 2004) and 'Modern Art: A Very Short Introduction' (Oxford, 2005). Among many articles he has written, the most recent is 'The Formation of the Avant-Garde in Paris and London, c1880-1915', in Art History, June 2012.
David has become increasingly interested in the artistic 'avant-garde', both as a concept and as a historical formation. He is currently working on a book for Yale University Press, entitled 'A Tale of Two Cities; the Formations of the Avant-Garde in Paris and London, c1895-1915'. It explores the differences, and relations, between the discourses and institutional developments that shaped the emergence and consolidation of these formations. This project is preliminary to a proposed international collaborative project, 'mapping' this emergence and consolidation, on a European (and ultimately global) scale. This will identify a number of key typologies of the avant-garde groupings that appeared in the capital cities of Europe (and North and South America) in the pre-First World war period.
British-born Susie Hodge is an author, artist, journalist and art historian, with over 80 books published, many on art history, history and practical art. She also writes booklets and web resources for major galleries and museums and is a regular contributor of articles in art magazines.
She lectures and runs art history and practical art workshops in universities, colleges, schools, businesses and various societies, and is an art history examiner for an international exam board. She is often interviewed on national and international radio programmes and television documentaries.
She began her career as a copywriter for the advertising agency Saatchi & Saatchi in London, also taught for several years, has an MA in the History of Art by Research from the University of London and is a Fellow of the RSA. Her books are available internationally.
You can follow Susie on Twitter: @susie_hodge
Anna Moszynska pioneered the study of contemporary art as an academic subject in the UK at Sotheby’s Institute where she directed the first courses during the late 1980s and oversaw the development of these into the MA in Contemporary Art in 1995.
Her books include Abstract Art (1990/2020) and Sculpture Now (2013) both published by Thames & Hudson, as well as two books on Antony Gormley: Drawing (British Museum, 2002) and Drawing Space (MACRO Rome, 2010). She has contributed to a wide variety of journals including Tate, Apollo, Arts Review, The Burlington Magazine, TLS and Art Monthly as well as writing essays for public and private institutions stretching from Berlin, Dubai, Aosta and Istanbul to White Cube and Tate Modern in London. Artists for whom she has written catalogues include Stephen Cox, Langlands & Bell, Vicken Parsons, Liz Rideal, Rebecca Salter, Estelle Thompson, Thomas Scheibitz and Eberhard Havekost.
Her extensive interests in the development of recent British, European, American and Middle Eastern practice, and in the problematic issue of medium specificity, have placed her in high demand as a lecturer and she has taught in New York, Basel, Bahrain, Abu Dhabi and Southern France as well as in numerous institutions in Britain. She has reviewed over 30 exhibitions for BBC Radio; has chaired symposia at the Tate Gallery and elsewhere, and has served as a judge for the Jerwood Sculpture Prize and Abstract Critical's New Writing Prize.
Anna studied in London at Courtauld Institute, University of London and obtained a MA in History of Art and a BA (Hons) English and History of Art, UCL. (Rudolph Wittkower Prize for History of Art).
Jeremy Eckstein is recognized as a leading expert on the fine art economy and is a frequent author, speaker and lecturer on the subject, and on fine art as an asset class.
Mr Eckstein started his professional life as an actuary, but he changed direction in 1979 when he joined Sotheby's as Head of Research. While there, he developed strategies appropriate to the treatment of art as an asset class and advised the British Railways Pension Fund on the performance of its fine art investment portfolio. He also assisted Citibank to set up its groundbreaking Art Advisory Service in the early 1980s. He became a Deputy Director of Sotheby's in 1987, with overall responsibility for research within the company.
He left Sotheby's in 1990 to establish Jeremy Eckstein Associates, an independent consulting firm specializing in research and analysis within the cultural and heritage sectors, with a special interest in art as an asset class and art funds. He has produced reports for the European Fine Art Foundation (TEFAF) and undertakes the regular surveys of members on behalf of the Society of London Art Dealers. Other clients include the UK's HM Revenue & Customs, for whom he has developed quantitative metric approaches to the valuation of certain works of art.
Mr Eckstein is co-founder managing director of ArtBanc International, a market maker providing secondary market trading opportunities and related services to art market professionals worldwide. He is directly responsible for the company's research strategies, market research and intelligence.
Additionally Mr Eckstein is a senior Consultant Lecturer at Sotheby's Institute, on their MA in Art & Business programme in London, and also on their online courses. He also lectures for the Paris-based Institut d'Etudes Supérieures des Arts (IESA). Jeremy is based in London.
Stephen Farthing studied at St Martin's School of Art, London (1969-73) before taking his Masters Degree in Painting at the Royal College of Art, London (1973-76). Here he was awarded an Abbey Major Scholarship, taking him to The British School at Rome for a year from 1976.
His teaching career began as a Lecturer in Painting at Canterbury College of Art (1977-79), after which he was a Tutor in painting at the Royal College of Art, London from 1980 to 1985. He went on to become Head of Painting (1985-87) and Head of Department of Fine Art (1987-89) at West Surrey College of Art and Design. From 1990 he was Ruskin Master at the Ruskin School of Fine Art and Professorial Fellow of St Edmund Hall, Oxford until 2000.
Stephen Farthing has exhibited extensively in one man shows since his first solo exhibition held at the Royal College of Art Gallery, London in 1977. His work, representing Britain, was shown at the Sao Paulo Biennale in 1989, leading to many further solo shows in the UK and abroad, including South America and Japan. He has also participated in many group exhibitions since 1975, including the John Moores Liverpool Exhibitions, in which he was a Prize Winner in 1976, 1980, 1982, 1987, 1991, 1993, 1997 and 1999. He was represented by The Edward Totah Gallery in London and New York until Edwards's death in 1997.
Farthing was Artist in Residence at the Hayward Gallery, London in 1989. He was elected Royal Academician in 1998 and in 2000 was made an Emeritus Fellow of St Edmund Hall, Oxford. In 2000, Duckworth published, The Intelligent Persons Guide to Modern Art. He was executive director of the New York Academy of Art from September 2000 until August 2004 when he was appointed Rootstein Hopkins Research Chair of Drawing at the university of Arts London, which he has held until 2017. Stephen now lives and works in New York and London.