Kate Grandjouan received her PhD in eighteenth-century art from the Courtauld Institute of Art in 2010 with a thesis on British graphic satire that was supervised by Professor David Solkin. As an independent scholar she has lectured widely on British art. Her post-doctoral research has been supported by fellowships from the Paul Mellon Centre in London and the Lewis Walpole Library (Yale University) in Connecticut. Her current research interests focus on the French and the British in the 18th century and relate to her book which is provisionally entitled ‘Hogarth’s French’.
Teaching
2018/19: BA3: Graphic Satire in Eighteenth-Century Britain, c.1688-1815
2012/13: BA1: Hogarth in London Collections
2012/13: BA2: Painting in Britain c.1713-1832
2011/12: MA with T.J. Clark (Visiting Professor at the Courtauld 2011/12): Sets and Series in Early Modern and Contemporary Painting
2011/12: BA2: Reading Hogarth
2010/11: BA3: Graphic Satire in Eighteenth-Century Britain
2010-11:BA2: Reading Hogarth
Since 2015 for the Courtauld Summer School: Modern Britain: Painting, Print-culture and Patronage in the Eighteenth Century
Research interests
- Early Modern Visual Satire, 1500-1800
- Eighteenth-century artists and institutions
- British art and European contexts: cosmopolitanism in the eighteenth-century:
- The history and theory of print
- Art, Propaganda and censorship
- Visual Humour and Comic Theory
- National identity and image-making
- Popular culture and cultural myths
- Intermediality, word and image in 18th century prints
Recent and forthcoming presentations
- ‘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 in Paris by Conseil de recherches en sciences humaines du Canada (CRSH) and the Insitut national d’histoire de l’art (INHA) November 2018
- ’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 & Liverpool University Press, edited by Marine Ganofsky (University of Edinburgh) and Jean-Alexandre Perras. April 2019
- ‘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, 28th November 2016 see: http://www.britishartstudies.ac.uk/issues/issue-index/issue-4
- ‘Body Politics: Charles Brandoin’s France England, 1772’ in Matica Srpska Journal for the Fine Arts, Vol 43, October 2015: 65-80
- ‘Le Surréalisme Transnationalisé : L’exposition internationale de 1936’ dans Avant-Gardes: from Dada to Surrealism (Belgrade, Museum of Contemporary Art, January, 2016), 95-109
Reviews for the British Society of Eighteenth-Century Studies
- ‘Caravaggio to Canaletto: The Glory of Italian Baroque and Rococo Painting’ at the Szépmûvészeti Múzeum, Budapest, June 2014 at https://www.bsecs.org.uk/criticks-reviews/caravaggio-to-canaletto-the-glory-of-italian-baroque-and-rococo-painting/
- ‘Curious Beasts: Animal Prints from the British Museum’ at Compton Verney, U.K., January 2014 at https://www.bsecs.org.uk/criticks-reviews/curious-beasts-animal-prints-from-the-british-museum/
- ‘Raynal, Un Regard vers l’Amérique’ at the Bibliothèque Mazarine, Paris, September, 2013 at https://www.bsecs.org.uk/criticks-reviews/raynal-un-regard-vers-lamerique/
- ‘Broadsides: Caricature and the Navy 1755-1815’ at Greenwich Maritime Museum, London, January 2013 at https://www.bsecs.org.uk/criticks-reviews/broadsides-caricature-and-the-navy-1755-1815/
- ‘Physionotraces: Galerie de Portraits de la Revolution à l’Empire’, at the Musée des Arts Décoratifs, Paris, July 2012 at https://www.bsecs.org.uk/criticks-reviews/physionotraces-galerie-de-portraits-de-la-revolution-a-lempire/
Book Reviews for Eighteenth-Century Studies (Baltimore: John Hopkins Press)
- Hogarth’s Hidden Parts: Satiric Allusion, Erotic Wit, Blasphemous Bawdiness and Dark Humour in Eighteenth-Century English Art by Bernd Krysmanski in Eighteenth-Century Studies, Volume 45, Number 2, Winter 2012: see http://muse.jhu.edu/login?auth=0&type=summary&url=/journals/eighteenth-century_studies/v045/45.2.grandjouan.html
- ‘Guess at the Rest”: Cracking the Hogarthian Code’ by Elisabeth Soulier-Detis see Visiting Lecturer in Eighteenth-Century British Art in in Eighteenth-Century Studies, Volume 45, Number 2, Winter 2012 see
Recent Conferences:
- November 2017: University of Gothenburg, Sweden: ‘Intermediality and the Political Fable’ for Early Modern Satire: Themes, Re-evaluations and Practices see https://lir.gu.se/forskning/forskningssamverkan/tidigmoderna-seminariet/early-modern-satire
- July 4th 2016: Courtauld Institute, London: ‘French Disruption: Alterity and the Satirical Print’ for ‘Making Britain Modern’, a conference on 18th-century British art organised to mark the retirement of Professor David Solkin as Dean and Deputy Director of the Courtauld, see https://courtauld.ac.uk/event/making-britain-modern
- January 2016: French Institute, Tel Aviv, Israel: ‘Naissance d’un art public’ for ‘L’intranquillité de la Caricature’ an evening debate with scholars and journalists from France to mark the first anniversary of the Charlie Hebdo assassinations in Paris. I also curated a mini exhibition on the history of caricature for the Institute see http://institutfrancais-israel.com/blog/apres-charlie-intranquillite-de-la-caricature-2/
- January 2016: Paul Mellon Centre for Studies in British Art, London: ‘Thomas Rowlandson in the 1780s: the double professional route into comic art’ for ‘Rowlandson and After: Rethinking Graphic Satire’: http://www.paul-mellon-centre.ac.uk/whats-on/forthcoming/rowlandson-and-after-rethinking-graphic-satire
- May 2015: Museum of Contemporary Art , Belgrade, Serbia: ‘Le Surréalisme transnationalisé: L’exposition internationale de 1938 à Londres’ for a multi-disciplinary conference on European Surrealism: ‘Avant-Gardes: From Dada to Surrealism’ co-organised by the Faculties of Art History & Modern Languages (University of Belgrade) and the Museum of Contemporary Art
- June 2015, INHA, Paris: ‘La déqualification de l’art: Le cas de Henry Bunbury et de Thomas Rowlandson’ invited speaker for a 3-day conference on visual satire: ‘L’image railleuse: la satire visuelle du XVIIIème siècle à nos jours’: http://www.inha.fr/fr/agenda/parcourir-par-annee/en-2015/juin-2015/l-image-railleuse-2.html
- March 2015, Ashmolean Museum, Oxford: ‘James Gillray’s French Jokes: The Sick-List Casualties of the 1790s’ for James Gillray@2000: Caricaturist without a conscience a one-day conference to accompany the Gillray exhibition, Love Bites: http://www.new.ox.ac.uk/james-gillray200-caricaturist-without-conscience
