BA French (London), PhD Art History (Sheffield)
Linda Walsh wrote her PhD thesis on Diderot’s Salons and the concept of ‘sensibilité’. Her current research interests lie in the area of eighteenth- and early nineteenth-century French and European art, with particular emphasis on the relationship between painting, sculpture and aesthetic ideas. She is currently researching and writing on theoretical aspects of sculpture, with specific reference to eighteenth-century materialist philosophy and Romantic Idealism. Her research also focuses on interdisciplinary study of the concept of the sublime as it relates to visual representations of landscapes and animals.
Expressions of interest from potential research students in projects exploring the relationship between European art and aesthetic ideas in the eighteenth and early nineteenth centuries will be welcome.
Linda has written on a wide range of Open University courses, including study units and audio-visual material on reading images (for the Access course, ‘Images’); pictorial analysis, genre, Gombrich’s Art and Illusion, art and politics in the work of Jacques-Louis David and Caspar-David Friedrich (for level 1 interdisciplinary courses); Charles Le Brun, Watteau and formal analysis (for a level 2 Art History course); Rousseau, the Encyclopédie (co-authored), Diderot’s Salons, The French Academy, the Enlightenment and Romanticism (co-authored), Constable, Turner, the sublime and the picturesque (co-authored), Goya and Delacroix (for level 2 interdisciplinary courses).
As a Staff Tutor based in the Leeds Regional Office Linda supports Associate Lecturers and students on an extensive range of arts courses taught in the Yorkshire Region. These include courses in Art History, History, Religious Studies, History of Science, Technology and Medicine and Interdisciplinary studies. She currently serves as academic reviewer to Leeds College of Art and Design where a substantial amount of HE provision is validated by the Open University.
‘Ausdrucksformen- Die Suche nach einer expressiven Sprache in der französischen Genremalerei des 18 Jahrhunderts’, in Tobias Klein and Erik Porath (eds), Figuren des Ausdrucks: Formation einer Wissenskategorie zwischen 1700 und 1850, (Wilhelm Fink, 2012), 125-146
‘Canova, Neo-classicism and the sculpted body’, in Emma barker (ed), Art and Visual Culture 1600-1850: Academy to Avant-Garde, (Tate Publishing, in association with The Open University, 2012), 219-259
‘The “hard form” of sculpture: marble, matter and spirit in European sculpture from the Enlightenment through Romanticism’, Modern Intellectual History, 5,3 (2008), 455-486
‘“Crushing Infamy”: The Revolutionary Sculpture of Joseph Chinard’, British Journal for Eighteenth-Century Studies, 26:1 2003, 109-128
‘Charles Le Brun, “art dictator of France”’, in G.Perry and C.Cunningham (eds), Academies, Museums and Canons of Art, (Yale University Press in association with the Open University, 1999), 86-120
‘Subjects, society, styles: changing evaluations of Watteau and his art’, in E.Barker and K.Woods (eds), The Changing Status of the Artist, (Yale University Press in association with the Open University, 1999), 220-248
‘The Expressive Face: Manifestations of Sensibility in Eighteenth-Century French Art’, Art History, 19, 1996, 523-550
“‘Arms to be kissed a thousand times’: Reservations about lust in Diderot’s art criticism”, in G. Perry and M. Rossington (eds), Femininity and Masculinity in Eighteenth-Century Art and Culture, (Manchester University Press, 1994), 162-183