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Dr Emma Jones

Sculpture Research Associate, Department of Applied Arts

Emma Jones is part-time Sculpture Research Associate in the Applied Arts Department (funded by the Henry Moore Foundation), and is cataloguing the Museum’s Renaissance and early Baroque sculpture (c. 1450–c. 1650). From December 2017 to January 2019, Emma was the Marlay Sculpture Research Assistant (also in Applied Arts), a part-time post funded by the Museum’s Marlay Group.

Emma undertook her PhD in the History of Art at the University of Cambridge, for which she received a full doctoral award from the Arts and Humanities Research Council of Great Britain, under the supervision of Professor Deborah Howard. She was awarded her PhD in 2017 and is currently converting her thesis into a book entitled The Business of Sculpture in Cinquecento Venice. In 2017, she received a study grant from the Gladys Krieble Delmas Foundation, New York, which has enabled her to continue her post-doctoral archival research into the life and work of the Venice-based sculptor, Girolamo Campagna (1549–1621) in Venice, Padua and Verona.

 

Research Interests

Emma specialises in Italian Renaissance and early Baroque sculpture, particularly that which was produced in Venice and the Veneto, and the social, cultural, and political contexts in which it was commissioned. This specialisation is underpinned by a keen interest in the patronage, production, and placement of European sculpture from the Medieval period to the present day. Most recently, this broader interest in all things sculptural has involved cataloguing the British and French 19th- and early 20th-century sculpture in the Batchelor Bequest and researching the recently-acquired bust of Queen Victoria by Alfred Gilbert (M.1-2018).

 

Recent/Major Publications

2019      ‘The Mother of the Empire: Alfred Gilbert’s Golden Jubilee Bust of Queen Victoria’, The Decorative Arts Society Journal, 43 (2019 forthcoming)

2019      ‘The Bronzes of San Marco’, co-authored with Victoria Avery, in La Basilica di San Marco di Venezia, ed. Ettore Vio (Venice: Marsilio, 2019)

2018      ‘Sculpture’, co-authored with Victoria Avery, in Collecting & Giving: Highlights from the Sir Ivor and Lady Batchelor Bequest (Cambridge: Fitzwilliam Museum, 2018), pp. 72-87.

2018      ‘Love, Lies and Litigation: The saga of Alessandro Vittoria’s St John the Baptist’, Colnaghi Studies, 2 (2018), pp. 52-65.

2015      ‘The Sculptural Stones of Venice: the selection, supply and cost of marble and stone in sixteenth-century Venice’, in Making and Moving Sculpture in Early Modern Italy, ed. Kelley Helmstutler Di Dio (Farnham and Burlington: Ashgate), pp. 111-36.

2013      Architecture, Art and Identity in Venice and its Territories, 14501750, co-edited with Nebahat Avcioglu (Farnham and Burlington: Ashgate; paperback edition Routledge 2016)

2013      ‘Priestly Patronage in Late Renaissance Venice: Antonio Gatto’s Cappella Maggiore in San Polo’, in Carvings, Casts and Collectors, pp. 218-35.

2013      Carvings, Casts and Collectors: The Art of Renaissance Sculpture, co-edited with Peta Motture and Dimitrios Zikos (London: V&A Publishing)

2011      ‘The Goldsmiths’ Altar in San Giacomo di Rialto: A Documentary Case Study of Venetian Trade Guild Patronage’, The Sculpture Journal, 20.1 (2011), pp. 7-42.

 

 

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