Professor Phillip Lindley
Professor of Art History
Tel: 0116 252 2840
Office: Attenborough 1610
Current Research Projects
My current research is focused in five related areas:
1. Tudor monumental sculpture, most recently the monuments at Framlingham, Suffolk, commemorating the Howard Dukes of Norfolk and their family. The project, 'Representing Re-Formation: Reconstructing Renaissance Monuments’, was an innovative multi-disciplinary venture, with researchers at Leicester's Space Research Centre, and in Museum Studies and Computer Science, at Merton College, Oxford and the Yale Center for British Art (Yale University), working together with English Heritage and NMAS. The project, which employed 3D scanning and virtual disassembly and reconstruction to retrieve the originally intended forms and meanings of the monuments has been featured on BBC Television and Radio. We organised two symposia, in Leicester and Cambridge, and designed an app on Thetford Priory in connection with it. I have lectured widely on the project in the UK, France, Italy and the USA. It was made possible by a half million pound grant from the Science and Heritage Programme (AHRC and EPSRC), with three PhD studentships attached to it and ran from 2010 to 2013.
2. New paradigms for exhibition curation. I worked with Richard Deacon, Britain's greatest contemporary abstract sculptor, co-curating ‘Image & Idol’ with him at Tate Britain in 2001-2. This innovative and controversial exhibition on Iconoclasm was itself iconoclastic, offering an entirely new approach to exhibition installation, critiquing the 'celebratory curatorship' and sub-modernist displays of many intellectually moribund 'blockbuster' shows. The controversy round Deacon's exhibition installations still resonates internationally and is the subject of my current paper, in Wolfgang Brückle, Pierre Alain Mariaux and Daniela Mondini (eds), Ausgestelltes Mittelalter, Deutscher Kunstverlag, Munich 2014. I am planning another exhibition with Deacon, with venues in the UK and USA. Recently (2013-14), I curated 'Thetford's Lost Tudor Sculptures', a small show in the authentically Tudor setting of Thetford's Ancient House Museum. Here, the installation, co-organised with my colleague Dr Ross Parry, the designer Ian Drake and Oliver Bone and his staff at the museum, employed 3D scans and prints and a video by the artist Andrew Williams, combining them with sculpted fragments in an intense, didactic show exploring notions of authenticity and agency. It was one of the results of the 'representing Re-Formation' project.
3. Historicism and the recuperation of the British past, in the past. This was the subject of my last monograph, Tomb Destruction and Scholarship which I wrote during a Leverhulme Trust award in 2007. A visiting Scholarship at the Yale Center for British Art, Yale University, in 2009 enabled me to study the Regency draughtsman Charles Alfred Stothard, on whose work I am currrently publishing papers in British and US journals. I have given invited lectures on historicism in the UK, Italy and USA.
4. Eighteenth- and nineteenth-century monumental sculpture. Recent work on the monuments at Warkton of Peter van Gelder and of L.F. Roubiliac, the greatest sculptor to work in eighteenth-century England, helped underwrite a successful bid for a major Heritage Lottery Fund award for their conservation. I co-organised a symposium on Roubiliac and the ducal monuments of the Montagus at Boughton House and have delivered plenary lectures on monumental sculpture in the UK, Europe and USA. At Prof Susie Nash's invitation, I shall shortly be giving a plenary lecture at the Courtauld Institute, commemorating the 60th anniversary of the publication of Erwin Panofsky's Tomb Sculpture.
5. The application of new technology in collaborative multi-disciplinary projects. I am currently collaborating with Engima Interactive on the virtual recreation of the formal gardens of Boughton House, and with Europac 3D on the sculptural programme of the fifteenth-century Warwick Chantry Chapel in Tewkesbury Abbey.
I have substantial experience of heading collaborative teams and have organised several international conferences and edited or co-edited ten books, in addition to my individual works. I am the principal supervisor for an AHRC Collaborative Doctoral Award with the Lamport Hall Preservation Trust, with Prof. Rosemary Sweet as co-supervisor. Megan Leyland began her doctorate in 2011 on 'Gender Patronage and Architecture in the Nineteenth-Century Country House'. My PhD students have included Dutch, German, Swedish and American citizens as well as British ones. So far, ten have been awarded their doctorates: Sam Riches ; Sophie Oosterwijk ; Bishop Christopher Herbert ; Rev Guy Sumpter ; Ellie Pridgeon ; John Clark ; Alexandra Fried ; Conny Bailey ; Miriam Cady ; Rebecca Constabel [2014 forthcoming], two their research MPhils [Herbert, Murphy], and more than fifty their MAs. I am generally interested in supervising PhD students in any of my areas of expertise but for UK and EU students, the competitiveness of AHRC awards seems to mean that a first class BA and a distinction in your MA are essential prerequisites if you seek state funding.
My academic training was at the University of Cambridge. I graduated with a first in History of Art in 1980 and stayed on to read my PhD at Downing College, where I was awarded a Bye Fellowship for outstanding doctoral research. In 1985-8 I was a Research Fellow at St. Catharine's College and after a British Academy Postdoctoral Fellowship at the CMS, University of York, I came to Leicester in 1991 and was Head of Department from 1998 to 2003, during which time I introduced the study of Film. In 2004, I founded the Centre for the Study of the Country House and designed and led the MA programme for eight years. In 1992 I was elected a Fellow of the Society of Antiquaries and a Fellow of the Royal Society of Arts in 2002.
Most Recent Publications
The artistic practice, protracted publication, and posthumous completion of Charles Alfred Stothard’s Monumental Effigies of Great Britain, Antiquaries Journal, 92 (2012) 385-426.
‘Pickpurse’ Purgatory, the Dissolution of the Chantries and the Suppression of Intercession for the Dead, Journal of the British Archaeological Association, 164 (2011), 277-304.
Worcester and Westminster: the figure-sculpture of Prince Arthur's chapel, in S.J. Gunn & L. Monckton (eds), Arthur Tudor, Prince of Wales: Life, Death and Commemoration, Boydell & Brewer, Woodbridge 2009, 141-66.
‘The Artist’: Institutions, Training and Status’ in T. Ayers (ed.), The History of British Art 600-1600, Yale, London and New Haven 2008, pp. 140-65.