People

Paul Duro

PhD, History and Theory of Art, University of Essex, 1984

The Academy and the Limits of Painting in Seventeenth-Century France, ‘Cambridge Studies in New Art History and Criticism,’ 300pp. + 80 illustrations, Cambridge University Press, 1997.
The Rhetoric of the Frame: Essays on the Boundaries of the Artwork, edited with an introduction and contributing essay, ‘Cambridge Studies in New Art History and Criticism,’ 322pp. + 68 illustrations, Cambridge University Press, hardback and soft cover, 1996.

‘A Disturbance of Memory: Travel, Recollection, and the Experience of Place,’ in Anne Teresa Demo and Brad Vivian (eds.), Rhetoric, Remembrance, and Visual Form: Sighting Memory (Routledge, 2012), 49-66
‘Observations on the Burkean Sublime,’ Word and Image (forthcoming 2012/early 2013).
‘Great and Noble Ideas of the Moral Kind: Joseph Wright of Derby and the Scientific Sublime,’ Art History, 33/4 (2010), 660-679.
‘Imitation and Authority: The Creation of the Academic Canon in French Art, 1648-1870,’ in Anna Brzyski (ed.), Partisan Canons (Duke University Press, 2007), 95-113.
‘Giving Up On History: The Hierarchy of Genres in Early Nineteenth-Century French Painting,’ in About Stephen Bann (London: Blackwell, 2006), 117-39.

Bridging Fellow, Department of English, University of Rochester, Fall 2008. Summer Fellow, Clark Art Institute, Williamstown, Mass, 2002.
Visiting Fellow, Humanities Research Centre, Australian National University, 1998-99.
Getty Summer Institute, University of Rochester, NY, 1998.
Faculty Research Grant Scheme, Australian National University, 1996-99.

Art and ornament in Rococo visual culture; Detail, parergonality and fragment; Art as symbolic form.
Theorizing Imitation in a Global Context, an anthology of essays edited with introduction; forthcoming from Blackwell Publishing, approx. 208 pages, 2014-15