Fellow in History of Art; Director of Studies; Tutor
History of Art
Murray Edwards has a wonderful atmosphere, intellectually, socially and artistically: its collection of art by female artists is unrivalled and displayed on every wall!
Degrees and honours
Dr Lydia Hamlett is Associate Professor at the Institute of Continuing Education, University of Cambridge.
Before coming to the Institute of Continuing Education, Lydia was a Leverhulme Early Career Fellow in the Department of History of Art at Cambridge. She was Programme Curator for the University of Cambridge Museums, when she co-curated 'Discoveries: Art, Science and Exploration' (2014), and a post-doctoral researcher on 'Court, Country, City: British Art 1660-1735' (AHRC), based at the University of York and Tate, where she curated 'Sketches for Spaces: History Painting and Architecture 1630–1730' (2013-14). Before this, she was on the research team for 'The Art of the Sublime' at Tate (AHRC). Lydia was a curator at the National Trust from 2008-9, and also at The Fitzwilliam Museum where she worked on exhibitions including 'From Reason to Revolution: Art and Society in Eighteenth-Century Britain' (2008) and 'Paul Mellon: A Cambridge Tribute' (2008). She has taught History of Art at Cambridge since 2003.
Current research interests in British visual culture, classical reception, gender and patronage
Murals in Britain 1630-1730: Experiencing Histories (Routledge, 2020)
Articles, chapters and reviews:
'Painted Interiors' in T. Barber, ed, British Baroque: Power and Illusion (Tate 2020)
Review of ‘The Painted Hall: Sir James Thornhill's Masterpiece at Greenwich’, Georgian Group Journal (December 2020)
‘Mural Cycles in Britain and Continental Influences’, in S. Hoppe, H. Laß, H. Karner (eds), Gemalte Herrschaft – Barocke Deckenmalerei an Europas Höfen um 1700 (Hirmer Verlag 2020)
‘A sketch for the Petworth House staircase identified: new light on the oeuvre and patronage of Louis Laguerre’, The Burlington Magazine (December 2016)
‘Rupture through Realism: Sarah Churchill and Louis Laguerre’s Murals at Marlborough House’, in M. Hallett, M. Myrone and N. Llewellyn (eds), Court, Country, City: British Art and Architecture, 1660-1735 (Yale Center for British Art, 2016)
‘Sure Gate of Heaven: the Sacristy of Santa Maria Gloriosa dei Frari’, in D. Howard and C. Corsato (eds), Santa Maria Gloriosa dei Frari, Immagini di Devozione, Spazi della Fede (Centro Studi Antoniani 2015)
‘The Image of Venice: Fialetti’s View and Sir Henry Wotton’, The Burlington Magazine (November 2015)
‘The twin sacristy arrangement in Palladio’s Venice: origins and adaptations’, in N. Avcioglu and E. Jones (eds), Architecture, Art and Identity in Venice and its Territories (Ashgate 2013)
‘Longinus and the Baroque Sublime in Britain’, in N. Llewellyn and C. Riding (eds), The Art of the Sublime (Tate Research website, 2013)
‘The Longinian Sublime, Effect and Affect in “Baroque” British Visual Culture’, in C. van Eck et al. (eds), Translations of the Sublime: the early modern reception and dissemination of Longinus' Peri Hupsous in rhetoric, the visual arts, architecture and the theatre (Brill 2012)
‘The Sacristy of San Marco, Venice: Form and Function Illuminated’, Art History, 32:3 (June 2009)