Richard Marks FSA , is a British art historian. He has held a number of curating and academic posts in art history in the United Kingdom and researched and written extensively on medieval religious images in a variety of media, including stained glass and illuminated manuscripts.
Marks was born on 2 July 1945, the birth recorded in Luton, Bedfordshire. [1]
Marks' higher education took place at the Courtauld Institute of Art, London where he gained the degrees of B.A., M.A. and PhD. [2] His doctoral thesis was entitled The stained glass of the collegiate Church of the Holy Trinity, Tattershall (Lincs.). [3]
Marks commenced his career as a curator at the British Museum before moving north to Glasgow when he was appointed as Keeper of the Burrell Collection. He later returned to the south of England after he was appointed Director of the Royal Pavilion and Museums, Brighton. [4]
An academic career beckoned in 1992 when he was appointed to a personal chair in the History of Art Department at the University of York as Professor in Medieval Stained Glass, a post he held until 2008. [5] In 2006-07 Marks was elected to Visiting Fellow ships at Corpus Christi College, University of Oxford, and Churchill College and Fitzwilliam College at the University of Cambridge. [6] He was later made Honorary Professor of Art History, University of Cambridge and Keeper of Works of Art at Fitzwilliam College in 2008, a position he held until 2012. [7]
Marks is Emeritus Professor in the Department of Art History at the University of York. [8] His primary field of research is Gothic Art in a variety of media that includes stained glass, sculpture and illuminated manuscripts. [9]
In 1977 Marks was elected Fellow of the Society of Antiquaries London, [10] and was later to serve in an honoraray capacity as the organisation's vice president. [11] Marks has also been active with the Corpus Vitrearum Medii Aevi project, serving as its International President and contributing to its list of Summary Catalogues of medieval stained glass in the counties of Northamptonshire and Bedfordshire and Buckinghamshire. [12]
Mark's scholarship and experience were in evidence when he was approached by the Victoria and Albert Museum (V&A) to contribute to a future exhibition that was in its very early planning stages in the 1990s. Writing in 2003 in the V&A Conservation Journal, Paul Williamson, then Keeper of Sculpture, Metalwork, Ceramics & Glass at the museum, describes how Marks came to be a key figure in the exhibition 'Art of England 1400-1547' held at the V&A in 2003. Planning for this started as early as 1993 and when, in 1995, soon after Alan Borg became the museum's director, Marks was invited to become the exhibition's guest curator. [13] Marks also co-authored with Williamson the catalogue that accompanied the exhibition. [14]
Marks' association with Courtauld Institute goes further than his academic studies. Photographs attributed to him appear in the institute's Conway Library. [15] The collection, which includes film and glass negatives as well as prints, consists mainly of architectural and sculptural images and holds the archives of Paul Laib and Anthony Kersting. The collection is currently being digitised as part of the Courtauld Connects Project. [16]
Marks has published extensively in his main areas of research; western art and mainly English art especially stained glass.
The Art and Science of the Church Screen in Medieval Europe: Making, Meaning, Preserving, 2020, Martlesham, Boydell and Brewer ISBN 978-1783275359 (As joint editor with Spike Bucklow and Lucy Wrapson)
Stained Glass in England During the Middle Ages, 2014, Abingdon, Routledge ISBN 978-1138009141
Studies in Art and Imagery, 2013, London, Pindar Press ISBN 1 904597 38 6
Image and Devotion in Late Medieval England, 2004, Cheltenham, The History Press ISBN 0750914661
The Golden Age of English Manuscript Painting 1200–1500, London, Chaotto and Windus, ISBN 9780701125394
"Images of Henry VI", in J. Stratford (ed.), The Lancastrian Court (Harlaxton Medieval Studies, X) (Stamford, 2003), pp. 111–124
"Medieval Stained Glass: recent and future trends in scholarship", The Journal of Stained Glass XXIV (2000), pp. 62–79
"Altarpiece, Image and Devotion: Fourteenth-century Sculpture at Cobham, Kent", in P. Binski and W. Noel (eds.), New Offerings, Ancient Treasures Studies in Medieval Art for George Henderson (Stroud, 2001), pp. 417–444
"The Thirteenth-Century Glazing of Salisbury Cathedral", in L. Keen & T. Cocke (eds.), Medieval Art and Architecture at Salisbury Cathedral (British Archaeological Assoc. Conference Trans., XVII, 1996), pp. 196–120
"The Taylard Family Windows at Gamlingay and Diddlington", Vidimus, Issue 131, April 2020 [17]
Philip Boughton Chatwin was an architect in Birmingham, England.
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William J. R. Curtis is an architectural historian whose writings have focused on twentieth century architecture. Curtis seems particularly interested in broadening the "canon" to include a wider range of architects working across the world.
St Catherine's Church, Over Alderley, also known as St Catherine's Church, Birtles, stands in an isolated position in Birtles Lane, near to Birtles Hall, in the civil parish of Over Alderley, Cheshire, England. It is recorded in the National Heritage List for England as a designated Grade II* listed building. It was originally a private chapel for the Hibbert family and is now a parish church. It is unusual in that its tower is octagonal. It contains furnishings and stained glass from Germany and the Netherlands. The church is listed in England's Thousand Best Churches. It is an active Anglican church in the diocese of Chester, the archdeaconry of Macclesfield and the deanery of Knutsford. Its benefice has been combined with that of St Philip & St James, Alderley Edge since 2022.
St Chad's Church is in the village of Farndon, Cheshire, England. It is an active Anglican parish church in the diocese of Chester, the archdeaconry of Chester and the deanery of Malpas. Its benefice is combined with that of St Mary, Coddington. The church is recorded in the National Heritage List for England as a designated Grade II* listed building.
St Mary's Church stands in an isolated position to the south of the village of Tilston, Cheshire, England. The church is recorded in the National Heritage List for England as a designated Grade II* listed building. It is an active Anglicanparish church in the diocese of Chester, the archdeaconry of Chester, and the deanery of Malpas. Its benefice is combined with that of St Edith, Shocklach.
Stained glass conservation refers to the protection and preservation of historic stained glass for present and future generations. It involves any and all actions devoted to the prevention, mitigation, or reversal of the processes of deterioration that affect such glassworks and subsequently inhibit individuals' ability to access and appreciate them, as part of the world's collective cultural heritage. It functions as a part of the larger practices of cultural heritage conservation (conservation-restoration) and architectural conservation.
Hilary Godwin Wayment OBE, FSA (1912–2005) was a British author and historian of stained glass.
Jean Michel Massing, is a French art historian and academic. He taught at the Department of History of Art at the University of Cambridge from 1977, rising to become Professor of History of Art in 2004 and twice head of the department. He was also a fellow of King's College, Cambridge from 1982. He retired in 2016.
Jean Victor Edmond Paul Marie Bony was a French medieval architectural historian specialising in Gothic architecture. He was Slade Professor of Fine Art at the University of Cambridge from 1958 to 1961, Fellow of St John's College, Cambridge, and Professor of Art at the University of California at Berkeley, from 1962 to 1980.
Thomas Alexander "Sandy" Heslop,, publishing as T. A. Heslop, is a British academic who specialises in the art and architecture of medieval England. He is Professor of Visual Arts at the University of East Anglia (UEA). He was Slade Professor of Fine Art at the University of Cambridge for the 1997/1998 academic year.
Deborah Janet Howard, is a British art historian and academic. Her principal research interests are the art and architecture of Venice and the Veneto; the relationship between Italy and the Eastern Mediterranean, and music and architecture in the Renaissance. She is Professor Emerita of Architectural History in the Faculty of Architecture and History of Art, University of Cambridge and a Fellow of St John's College, Cambridge.
Madeline Harrison Caviness, FMAoA, FSA is a British-American scholar of European medieval art, and an expert on glass painting and medieval women as viewers of art. She is a Professor Emeritus at Tufts University in Medford, Massachusetts.
Peter Anthony Newton (1935–1987) was a British academic and collector specialising in medieval stained glass.
Jeffrey K. West FSA is a British specialist in historical buildings and artefacts with a concentration on ecclesiastical buildings.
Paul BinskiFSA FBA is a British art historian and Emeritus Professor of the History of Medieval Art at the University of Cambridge.
Martin Allen, FSA, is a British numismatist and historian, specialising in medieval English coinage. Allen is the Senior Assistant Keeper of Numismatics at the Fitzwilliam Museum in Cambridge, United Kingdom.
Sydney Alfred Pitcher FRPS was a photographer with a special interest in medieval ecclesiastical architecture, particularly stained glass windows. In his 1926 book on English Stained Glass, the art historian and critic, Sir Herbert Read, acknowledged that the illustration of the book would have been difficult “without the co-operation of Mr Sydney Pitcher of Gloucester” to whom “all students of stained glass and of medieval art in general, are under a great debt for the enthusiastic zeal with which he is recording the remains of church art in England”.
Galyon Hone was a glazier from Bruges who worked for Henry VIII of England at Hampton Court and in other houses making stained glass windows. His work involved replacing the heraldry and ciphers of Henry VIII's wives in windows when the king remarried.
John Prudde was the leading English glass painter of the mid 15th century. He held the office of King's Glazier from 1440 until his death. He worked on a variety of high-profile projects, both public and private, but the only work of his now known to survive is in the Beauchamp Chapel of St Mary's Church, Warwick. This has been described as having "a glittering effect unmatched within the British Isles", the result of his mastery of the technically demanding art of inserting brightly-coloured "jewels" of painted glass into the middle of panes of glass.
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