I am a post graduate researcher at Manchester Metropolitan University. I am researching the Pre-Raphaelite artist William Holman Hunt’s work, The Finding of the Saviour in the Temple of 1860.
I am on Academia.edu: https://carolinekaye.academia.edu/
My ORCID site: orcid.org/0000-0002-1997-9293
My university email: firstname.lastname@example.org
If you are looking for my artwork site, please visit www.carolinekaye.com
My current work considers the role of “history” and how we understand what we refer to as “the past”. I am also researching a historiography of the Pre-Raphaelite movement. It’s very interesting to observe how the movement has been treated by mainstream art historians. The accounts are very mixed. This brings me to the matter of art history. What is art history the history “of” exactly?
With art history, I am confronted by competing and contradictory structures with the organising of knowledge and assumptions about what it is the scholarly discipline of art history “does” and how it is “done”. The myriad of options and approaches open to the modern scholar of visual culture in its many forms compounds the complexity. These choices range from the philosophical thinking of Hegel, notions of connoisseurship, formalism, iconography and a plethora of contextual methods, amongst other approaches.
It is not my intention to recreate the story of Holman Hunt’s artistic and spiritual journey that led to his painting The Finding with a view to revealing some new nugget of empirically underpinned information that “proves” a thesis. (Does this mean that I am not “doing” history?) In many ways, what I will contend in this work cannot specifically be “proved” as “true”. In a sense, my examination of The Finding will necessarily involve some unravelling of the very notion of the past and how we get to it, or rather, how it gets to us. I will argue that The Finding taps into a discourse that can only be recognised with greater distance and hindsight.