Emma Barker joined the OU in September 1995, after having worked as a temporary lecturer at the universities of East Anglia, York, Warwick and Sussex.
Her principal research interests are eighteenth and early nineteenth century French art, with special reference to genre painting; sentimentalism as a cultural and historical category. She is currently working on the single figure paintings of Jean-Baptiste Greuze and on sentimentalism in late eighteenth-century painting, with reference to issues of cultural identity.
She has given papers at various British universities; the Association of Art Historians annual conference; the Wallace Collection, London; the College Art Association conference (USA); the Hood Museum of Art, Dartmouth college, New Hampshire; the American Society for Eighteenth-Century Studies annual conference; the Centre for Advanced Study in the Visual Arts, National Gallery of Art, Washington; Johns Hopkins University, Baltimore; the International Society for Eighteenth-Century Studies annual conference, the Getty Center, Los Angeles, the Nationalmuseum, Stockholm, Waddesdon Manor, Bucks, and Tate Britain.
She would be willing to supervise research students on topics in art and visual culture between the mid seventeenth and mid nineteenth centuries.
(as editor), Art and Visual Culture 1600-1850: Academy to Avant-Garde, Tate Publishing, 2012.
Greuze and the Painting of Sentiment, Cambridge University Press, 2005
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The Changing Status of the Artist (ed. with Nick Webb and Kim Woods), Yale University Press in association with The Open University, 1999
Contemporary Cultures of Display (ed.), Yale University Press in association with The Open University, 1999
‘Georgiana at Althorp: Spencer Family Portraits 1755-1785’, in Placing Faces: The Portrait and the Country House 1650-1850, ed. Gill Perry, Kate Retford, Jordan Vibert and Hannah Lyons, Manchester University Press, 2013.
‘Reading the Greuze Girl: The Daughter’s Seduction’, Representations, no. 117, Winter 2012, 86-119.
‘From Charity to Bienfaisance: Picturing Good Deeds in Late Eighteenth-Century France’, Journal for Eighteenth-Century Studies, vol. 33, no. 3, September 2010, 285-311.
‘Imaging Childhood in Eighteenth-Century France: Greuze’s Little Girl with a Dog’, Art Bulletin, vol 91, n°. 4, December 2009, 426-45.
‘Rehabilitating the Rococo’ , Oxford Art Journal, vol. 32, no. 2 (June 2009), pp. 306-13.
‘Mme Geoffrin, Painting and Galanterie: Carle Van Loo’s Conversation espagnole and Lecture espagnole’, Eighteenth-Century Studies, 40:4, 2007, 587-614
‘Putting the Viewer in the Frame: Greuze as Sentimentalist’, in Philip Conisbee (ed.), French Genre Painting in the Eighteenth-Century, Studies in the History of Art, vol. 72, (Washington: National Gallery of Art, 2007), 105-27
‘Women, Art and Culture in Eighteenth-Century France’ (review essay), Eighteenth-Century Studies, 40:1, 2006, 144-8
‘Painting History/History Painting’ (review essay), Art History, 22:5, 1999, 760-66
‘Painting and Reform in Eighteenth-Century France: Greuze’s L’Accordée de village’, Oxford Art Journal, 20:2, 1997, 42-52
She has contributed to numerous OU courses, including A216 Art and its Histories; A207 From Enlightenment to Romanticism, AA318 Art of the Twentieth Century,and A841 Themes and Issues in Contemporary Art History and A226: Exploring Art and Visual Culture. She is currently chair of A226: Exploring Art and Visual Culture.
|Gender in the Humanities Research Group||Group||Faculty of Arts|
|The Arts and their Audiences Research Cluster||Cluster||Faculty of Arts|