Dr Chloe Ward
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Senior Lecturer in the History of British Art
Email: c.ward@qmul.ac.ukTelephone: +44 (0)20 7882 2899Room Number: ArtsTwo 3.13
Profile
I specialise in Victorian and Edwardian art, focusing particularly on political art and the history of British drawing and illustration. I received my MPhil and PhD in the history of art from King’s College, Cambridge, and held a Curatorial Fellowship at Watts Gallery before joining Queen Mary in 2015.
Teaching
Undergraduate Teaching
Research
Research Interests:
My book, The Drawings of G. F. Watts, is the first analysis of drawings by the celebrated Victorian painter, George Frederic Watts (1817-1904). I am currently at work on my second book, Art and Activism: Promoting Change Through British Periodical Illustration, 1893-1914.
My main research areas include:
- The art produced by activists, political groups, minorities, and protestors, particularly in the modernist period
- The practice and reception of Victorian drawing
- Periodical illustration and the mass circulation of imagery
- The history of art exhibitions, particularly exhibitions of British art in America
- Art and disability
Publications
Books
- The Drawings of G. F. Watts. London: Philip Wilson, 2015.
Articles
- ‘Images of Empathy: Representations of Force Feeding in Votes for Women’ in Suffrage and the Arts, eds. Miranda Garrett and Zoe Thomas. London: Bloomsbury, 2018 (forthcoming).
- 'England’s Michelangelo in the Metropolitan Museum of Art: The G. F. Watts Exhibition, 1884–5.' Comparative American Studies, Spring 2016
- 'The Warrior and the Wife: Imagining the Irish Homeland in the Illustrations of John Campbell.' Irish Studies Review 22, no. 1 (2014): 7–21.
- 'The Gossamer Veil: Britain in Danger on the Covers of The New Age.' Literature and History 22, no. 1 (2013): 42–60.
- 'The Two Sphinxes: Fighting Poverty with Art on the Covers of The New Age.' British Art Journal XIII, no. 2 (2012): 49–54.
- 'The Sensual Banquet Scene: Sex and the Senses in 18th Dynasty Theban Tomb Paintings.'(link sends e-mail) St. Andrews Journal of Art History and Museum Studies 13 (2009): 47–56.