Genevieve Warwick is a leading scholar of Renaissance and Early Modern Art c. 1400-1750.
Genevieve is Editor of Art History, flagship journal of the national Association of Art Historians UK.
Genevieve will be a Leverhulme Trust Major Research Fellow, 2017-20
Genevieve's books include: Art and Technology in Early Modern Europe; Picturing Venus in the Renaissance Print; Bernini: Art as Theatre; Caravaggio: Realism, Reception, Rebellion; Collecting Prints & Drawings in Early Modern Europe, c 1550-1800; 'The Arts of Collecting'; Commemorating Poussin.
New books for 2017: University of Edinburgh Torrie Collection 1836-2016 and Art History 40: Image and Memory.
Genevieve's research has been funded by the Getty Grant Program as both doctoral and post-doctoral Fellow, the Kress Foundation, the Leverhulme Trust (2005-06 £23, 323; 2017-20 £143,803), and the Arts & Humanities Research Council UK (2008-9 £32,762.50; 2012-14 £106,717). In 2003 Genevieve was invited to be a Distinguished Fellow of the Getty Research Institute and has recently acted as consultant to the Getty Foundation on Open Access publishing in Art History following work with HEFCE on the formulation of UK Open Access policy for image rights, and continues to advise on Open Access for History of Art. She served for ten years as reviewer to the Getty Grant Program and as a member of the AHRC Peer Review College, and currently as an AHRC Strategic Reviewer. She is also UK Secretary for the International Committee for the History of Art, CIHA.
At home, Genevieve has acted as Director of Postgraduate Studies at departmental, faculty, and now College level where she effected a five-fold increase in scholarship successes; as Director of Internationalisation for Edinburgh College of Art doubling international students over a three-year cycle; and currently also serves as School Director of Research for History of Art. She has also served on the board of the University's Centre for Medieval and Renaissance Studies as director of the University's interdisciplinary postgraduate programme in Renaissance and Early Modern Studies.
Genevieve lectures widely including recent talks in the Ashmolean Museum's Director's Series, the National Gallery of Ireland's Commemoration Lecture Series, at the American Academy in Rome, the Academie de France, the Victoria & Albert Museum, Harvard University, and keynote lectures in Edinburgh and Krakow.
M.A. & Ph.D Teaching:
Genevieve welcomes PhD applications in all her areas of research, particularly her current interests in invention, technology and the practice of art in Renaissance and Early Modern Europe, and joining a group of PhD candidates working on topics such as: fictional architectures in painted ceilings; Giorgio Vasari's Books of Drawings; and the formation of the Kress Collection of Renaissance Art.
Current postgraduate teaching in collaboration with Talbot Rice Gallery, National Gallery of Scotland and University Collections comprises innovative use of 3-D imaging technologies and student-led exhibitions of the University's Torrie Collection of Early Modern Dutch Painting and Italian Renaissance Sculpture. The subject of a recent STV documentary, the project culminates in a major exhibition in Autumn 2016-Spring 2017, and a commemorative publication of staff and student essays on the Torrie Collection.
Art History journal special issue: Art and Technology in Early Modern Europe (2016): This issue looks at how technological change and development in early modern Europe (c. 1420-1820) underpinned the making and viewing of the art of the period.
Picturing Venus in the Renaissance Print (2014). This exhibition and book look at the new art of print-making in Renaissance Europe as the means to reproduce recent discoveries of Europe’s most celebrated antique sculptures.
Bernini: Art as Theatre (2012) forges a new analysis of Baroque illusionism through a study of this artist’s sculptural ensembles, analysed through the prism of his work in theatre.
Caravaggio: Realism, Reception, Rebellion (2006). This volume considers Caravaggio's revolutionary "realism" through the new science of observation of the Galilean era.
Collecting Prints and Drawings in Europe, c. 1550-1800 (2003)This volume brings together National Gallery papers in collaboration with the Getty Provenance Index, to open new frameworks of analysis for collecting works on paper.
The Arts of Collecting (2000, pk 2011) examines the collecting of artists' drawings through examination of modes of exchange and the social roles of material culture to analyze the epistemological frameworks for viewing that accompany transfers of artistic wealth.
Commemorating Poussin. Reception and Interpretation of the Artist (1999). This collection of essays addresses issues of Poussin's practice and theory, patronage, reception and critical fortune. Written to mark his quartercentenary in 1994, the essays were originally given as a series of lectures at the Courtauld Institute of Art.