Claudia Hopkins is a specialist on Spanish art and culture, including Anglo-Hispanic cultural relations. She has a strong interest in nineteenth- and twentieth-century contexts, as a focus for debate about constructs of self and others, issues of identity, and processes of translation.
She is currently completing a monograph on representations of Al-Andalus and Morocco in nineteenth- and early twentieth-century Spanish art, with seed-funding from the Carnegie Trust, Scotland.
She is principal investigator of a collaborative project on European Writing on US art in the Cold War Era. Generously supported by the Terra Foundation of American Art, the outcome will be a two-volume anthology, co-edited with Iain Boyd Whyte, of texts by European cultural commentators on US art, translated into English from 19 European languages and augmented by research essays written by 20 experts in the field.
Previous publications have focused on nineteenth-century contexts. Following a post-doctoral fellowship at the Institute for Advanced Studies in Humanities (Edinburgh), Claudia published a collection of essays Pascual de Gayangos: a Nineteenth-Century Spanish Arabist (Edinburgh University Press, 2008). She contributed a substantial part to this book, which has been described in the Oxford Journal of Islamic Studies (vol.21.3, 2010) as "an important contribution to the study of the history of Oriental studies, which presents a much more nuanced picture than the clear-cut divisions often inferred from Said's Orientalism".
Claudia Hopkins made a major contribution to the exhibition and its publication The Discovery of Spain: British Artists and Collectors: Goya to Picasso (National Gallery of Scotland, Edinburgh, July – October 2009). It took four years to organise the exhibition, which drew in over 70,000 visitors.
Between 2005 and 2007, as a Senior Researcher for the AHRC-funded initiative NIRP (The National Research Inventory Project, University of Glasgow), she researched nearly 400 paintings and contributed to the free online inventory of European art in UK museums.
Claudia Hopkins is Co-Editor (with Iain Boyd Whyte) of the Getty-funded e-journal Art in Translation (AIT). She convened four conferences on the relationships between art history and translation, including 'Translating Cultures in the Hispanic World', University of Edinburgh, 2013. The papers of all four events have been published in Art in Translation.
Claudia Hopkins gained her Ph.D. from the University of Edinburgh in 2005, having previously studied history of art at the University of Montpellier, France, and the University of North Carolina at Chapel Hill. After her Ph.D. she worked for some of the most prominent institutions in Scotland, including the University of St. Andrews where she taught in 2006. She has lectured at Edinburgh since 2005 and was appointed as a full-time Lecturer in History of Art in 2014.
Claudia Hopkins lectures in History of Art, at both undergraduate and postgraduate level.
Specialist courses include:
Orientalism in European Visual Culture
Barcelona and Modernity 1858-1937
Goya - the first of the modern
Velazquez in Context
The Golden Age of Spain: Art, Politics and Religion
The Aesthetics of Difference: Postcolonial Perspectives from the 19th to the 20th Century.
She welcomes research students for supervision for projects related to any of the above areas.
Claudia Hopkins is mainly concerned with Spanish art and culture, including the reception of Spain in British art and culture. Her work is informed by postcolonial / translation theory.
Spain and Orientalism in the Nineteenth and Twentieth Centuries, ed. C.Hopkins and A. McSweeney, Art in Translation, augmented issue, vol. 9.1 (2017)
“On the ways of viewing Spanish Art. Review of Nigel Glendinning and Hilary Macartney (eds.), Spanish Art in Britain and Ireland 1750-1920, Studies in Reception in Memory of Enriqueta Harris Frankfort", in Art History (Sept. 2012).
"The Power of Translation in Mid-Nineteenth-Century Spain", Art in Translation, 4.1 (March 2012), pp.61-72.
“The Alhambra in Britain. Between Foreignization and Domestication”, Art in Translation (Special Issue on Translation and Visual Culture), vol. 2.2, July 2010, pp. 201-222.
“Art History and Translation" (co-authored with I. B. Whyte), in J. Anderson (ed.), Cross-Cultural Art History in a Polycentered World, a special issue of the UNESCO journal Diogenes, no. 231, English edition, August 2011.
"The Spanish Picturesque", in The Discovery of Spain British Artists and Collectors: Goya to Picasso, ed. David Howarth (Edinburgh: National Galleries of Scotland, 2009), pp.47-64.
"Andalucia: A Dream of the South", in The Discovery of Spain: British Artists and Collectors: Goya to Picasso, ed. David Howarth (Edinburgh: National Galleries of Scotland, 2009), pp.65-79.
"Pascual de Gayangos and Anglo-American Hispanism" in Álvarez, C. and Heide, C., Pascual de Gayangos. A Nineteenth-Century Spanish Arabist (Edinburgh University Press, 2008), pp.132-158
"Gayangos and the World of Politics" (Gayangos and the Whigs in Britain), in Alvarez, C. and Heide, C., Pascual de Gayangos. A Nineteenth-Century Spanish Arabist(Edinburgh University Press, 2008), pp.24-48
Hopkins, Claudia. 2016. “Beyond Orientalism”. Hispanic Research Journal 17 (5).
Hopkins, Claudia. 2016. “Review: Javier Barón (Ed.), El Greco & La Pintura Moderna, Exhibition Catalogue, Madrid, Museo Nacional Del Prado, June–October 2014.”. Bulletin Of Spanish Studies 93 (6).
Hopkins, Claudia. 2015. “From Perception To Reception”. Art In Translation 7 (4).
Hopkins, Claudia. 2015. “Editorial”. Art In Translation 7 (1).
Hopkins, Claudia. 2014. “Editorial”. Art In Translation 6 (3).
Hopkins, Claudia. 2013. “Editorial”. Art In Translation 5 (4).
Hopkins, Claudia. 2012. “On The Ways Of Viewing Spanish Art”. Art History.
Hopkins, Claudia. 2012. “The Power Of Translation In Mid-Nineteenth-Century Spain”. Art In Translation 4 (1).
Whyte, Iain, and Claudia Hopkins. 2010. “Histoire De L'art Et La Traduction”. Diogène 231 (2010).
Hopkins, Claudia. 2010. “The Alhambra In Britain. Between Foreignization And Domestication”. Art In Translation 2 (2).