CV & Publications

CV and Publications

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CV

 

Below is a comprehensive curriculum vitae of my work (education, publications, media and forthcoming projects).

 

CV

 

Below is a comprehensive curriculum vitae of my work (education, publications, media and forthcoming projects).

 

Education

Windsor Grammar School

1960–3    Downing College, Cambridge University. (Part I, Natural Sciences, Part II History of Art)

1963–5    Academic Diploma in the History of Western Art, Courtauld Institute

Appointments
& Activities

(a) Teaching and Research Posts, and Visiting Professorships etc.

1965–1966   Lecturer in the History of Fine Art, Dalhousie University, Halifax, N.S., Canada

1966–1981   Lecturer in the History or Fine Art, University of Glasgow

1981–1990   Professor of Fine Arts, University of St. Andrews

1984–1985   Member of Institute for Advanced Study, Princeton

1990–1995   Professor of the History and Theory of Art, St. Andrews

1987–1988   Slade Professor, University of Cambridge

1988   Benjamin Sonenberg Visiting Professor, Institute of Fine Arts, New York University

1993   Dorothy Ford Wiley Visiting Professor in Renaissance Culture, University of North Carolina, Chapel Hill

1993–1998   British Academy Wolfson Research Professor

1995–1997   Professor of the History of Art, Oxford University

2000   Louise Smith Brosse Professor at the University of Chicago

2002–2003   Research Fellow, Getty Institute, Los Angeles

2004   Mellon Senior Research Fellow, Canadian Centre for Architecture, Montreal

2007–2008    Research Professor in the History of Art, Oxford University

2008   Emeritus Professor in the History of Art, Oxford University

2010    Lila Wallace – Reader’s Digest Visiting Professor, I Tatti, Harvard University

2012    Page-Barbour Lecturer, University of Virginia

2013    Joseph Janson-La Palme visiting lecturer, Department of Art and Archaeology, Princeton

2017 onwards    full-time writing, speaking, broadcasting

(b) Invited Lectures

Britain and Ireland (various), America (including Ann Arbor, Baltimore, Bethlehem, Berlin, Chapel Hill, Charlottesville, Duke, Emory, Harvard, Los Angeles, Malibu, New York, Penn State, Philadelphia, Princeton, Rice, Santa Cruz, Galveston, Harvard, San Francisco, Stanford, Washington, Williamstown, UCLA, and Yale), Australia, Canada, France, Germany, Italy, Korea, Mexico, Norway, Poland, Portugal, Spain, China, Japan, Mexico, Sweden and Switzerland, including Selwyn Brinton lecture at the Royal Society of Arts, Aspects of Art lecture at the British Academy, Society for Renaissance Studies Annual lecture, Lettura Vinciana at Vinci, Slade Lectures at Cambridge; Mossman Lecture, Montreal; Hammer Prize lecture, Los Angeles; Bochner ‘Scientia’ Lecture, Rice, Brosse lectures, Chicago, Iconic Turn Lecture, Munich, Einstein Lecture, Berlin, the Page Barbour Lectures, University of Virginia, the Herzberg Lecture, Carleton University etc.

(c) Awards

British Academy Wolfson Research Professorship, 1993–8

Mitchell Prize for best first book, for Leonardo da Vinci. The Marvellous Works of Nature and Man

Armand Hammer Prize for Excellence in Leonardo Studies

Prize of the American Italian Association

(d) International Curatorship
and Co-curatorship

1989   exhibition of Leonardo da Vinci. Artist, Scientist, Inventor at the Hayward Gallery, London*

1992   ‘Columbus year’ exhibition, Ca 1492. Art in the Age of Discovery for the National Gallery, Washington*

1993   exhibition of Leonardo da Vinci. The Mystery of the Madonna of the Yarnwinder, National Gallery of Scotland. Edinburgh

2000   Spectacular Bodies. The Art and Science of the Human Body, Hayward Gallery, London*

2002   Gergor Mendel, the Genius of Genetics, Abbey of St. Thomas, Brno*

2002   Leonardo da Vinci. Experience, Experiment, Design, Victoria and Albert Museum

2007   Seduced. Art & Sex from Antiquity to Now, Barbican Art Gallery,* London

(e) Public Service

Trustee of National Galleries of Scotland

Board of the Scottish Museums Council

Board of the Museum Training Institute

Trustee of the Victoria and Albert Museum

Trustee of the British Museum

Trustee of the Wilhelmina Barns-Graham Charitable Trust

Board of the Louise T Blouin Institute

Patron of the Woodstock Literary Festival

Member, Commissione Vinciana, Rome

Patron, Modern Art Oxford

Patron, Music at Oxford

Patron, Oxford Philharmonic Orchestra

Patron, Instruments of Time and Truth.

President, Oxford Art Association Associates

(f) Professional Service & Activities

Chair of Association of Art Historians

Chair of Editorial Board, Art History

Chair of Graeme Murray Gallery, Edinburgh

Board member, ‘Interalia’ (art-science organisation sponsored by Marks and Spencer)

Professor of History, Royal Scottish Academy

Member of the Council of the British Society for the History of Science

Membre Titulaire, Comité International d’Histoire de l’Art

Founder of Artakt and Director, 2001–5

(g) Honours

1983   Fellow of Royal Society of Arts

1985   Honorary Professor of History, Royal Scottish Academy

1988   Honorary Member, Royal Incorporation of Architects in Scotland

1991   Fellow of the British Academy

1992   Fellow of the Royal Society of Edinburgh

1992   Armand Hammer Prize, Los Angeles, for Excellence in Leonardo Studies

1993   British Academy Wolfson Research Professor

1995   Honorary D. Litt., Herriot Watt University.

1995   Fellow of the Royal Society of Sciences, Uppsala

1999   Honorary Fellow, Downing College Cambridge

1999   Overseas Member American Academy of Art and Sciences

2007   Honorary Fellow, Trinity College Oxford

2009   Honorary doctorate, University of Uppsala, Sweden

2009   Honorary Fellow, Glyndwr University, Wales

2019   Sigillo of the University of Urbino

(h) Public Media

CD-Rom on Leonardo for Bill Gates

Video ‘The Masters of Illusion’ for the National Gallery, Washington (their best-selling video to that time)

Many appearances on TV programmes, including 50-minute feature on Piero della Francesca for Omnibus

Leonardo programmes for BBC, ITN, National Geographic, Japanese TV

Radio programmes, including interviews with artists, appearances on ‘Today’, ‘Kaleidoscope’, ‘Front Row’,  ‘Night Waves’, “Start the Week” “In Our Time”, and the ‘Colin Bell Show’.

Arts Blog for The Guardian, 2007

Presenter, I Fagiolini, Leonardo. Shaping the Invisible, music CD and touring concert, 2019

Interviews are available at

http://www.aah.org.uk/projects/oral-history/interviews/interview-with-martin-kemp

OVERVIEW OF PUBLISHED RESEARCH

 

The central theme of my research has been the relationship between scientific models of nature and the theory and practice of art. This has primarily involved the sciences of optics, anatomy and natural history in various key episodes from the Renaissance to the 20th century. Increasingly it has concerned issues of visualization, modelling and representation common to science and art. 

A major and continuing focus has been the art and writings of Leonardo da Vinci, culminating in the prize-winning Leonardo da Vinci. The Marvellous Works of  Nature and Man (1981 and 1989). I have worked for Bill Gates on a CD and print edition of the Codex Leicester. A controversial book on the Leonardo portrait on vellum, which has been christened La Bella Principessa, was published in spring 2010, with important new material in the Italian edition (Mandragora). With Giuseppe Pallanti, I have published Mona Lisa. The People and the Painting, Oxford 2017. An overview of my relationship with Leonardo and resulting publications is provided by Living with Leonardo. Fifty years of Sanity and Insanity in the Art World and Beyond (2018). The 500th anniversary in 2019 of Leonardo’s death brought a spate of publications, including The Life of Leonardo da Vinci by Giorgio Vasari; Leonardo da Vinci. The 100 Milestones; Leonardo by Leonardo (on the paintings); and a French translation of the 1981 monograph, Léonard de Vinci, Citadelles, Paris

The summation of the optical researches is The Science of Art. The Optical Themes in Western Art from Brunelleschi to Seurat, Yale University Press, 1990 and 1992. Anatomical themes and related topics from natural history and the ‘hard’ sciences are explored in two books written during my 5 years as British Academy Wolfson Research Professor: Seen and Unseen. Visual Angles on Art and Science, and Structural Intuitions.

My main period researches have involved the Renaissance, summarised in my book, Behind the Picture. Art and Evidence in the Italian Renaissance in 1997, with ancillary areas of research in British and French art c. 1750-1830, and early photography. I have written quite extensively about living artists.

The broad thrust of recent work is devoted to a history of the visual, which embraces the wide range of artefacts from science, technology and the fine and applied arts that have been devised to articulate our visual relationship to the physical world. A scientific diagram or computer graphic model of a molecule is as relevant to this new history as a painting by Michelangelo. Direct expressions of this vision are to be found in the Centre for Visual Studies which I founded in Oxford and in the series on ‘Art and Science’, ‘Science and Image’,  and “Science and Culture’ in my weekly (then monthly) page in Nature (the first 50 articles published in book form as Visualizations, OUP). A number of these themes are brought together in Seen / Unseen, OUP, 2006. In particular I have explored the notion of “structural intuitions” as a way of understanding shared starting points in art and science, including a book, Structural Intuitions, resulting from the Page Barbour Lectures at the University of Virginia. Biological and philosophical themes are explored in The Human Animal in Art and Science (Chicago, 2007).

Christ to Coke. How Image Becomes Icon, which tells the stories of eleven images that have transcended time, place and function, ranging from Christ’s face to DNA, was published by OUP in 2011.

Art in History (Profile Books) covers 26 centuries of European and American Art in 40,000 words by concentrating on works that represent the changing nature of the conceptions of art and artists, and the changing role of the spectator. It was conceived as an animated e-book, but access to the animations and links to other websites is very limited.

The curation of exhibitions has been a major activity, both individually and with co-curators. These include: Leonardo da Vinci. Artist scientist engineer, London, 1989; Ca 1492. Art in the Age of Exploration, Washington, 1492; Spectacular Bodies. Art and Anatomy from the Renaissance to now; Leonardo da Vinci. Experience, experiment, design, London, 2005; Seduced. Art and sex from antiquity to now, London, 2007.

LIST OF PUBLICATIONS

(In order of publication within each section. Excluding most book and exhibition reviews and other occasional pieces. Books and free-standing publications in bold)

OVERVIEW OF PUBLISHED RESEARCH

 

The central theme of my research has been the relationship between scientific models of nature and the theory and practice of art. This has primarily involved the sciences of optics, anatomy and natural history in various key episodes from the Renaissance to the 20th century. Increasingly it has concerned issues of visualization, modelling and representation common to science and art. 

A major and continuing focus has been the art and writings of Leonardo da Vinci, culminating in the prize-winning Leonardo da Vinci. The Marvellous Works of  Nature and Man (1981 and 1989). I have worked for Bill Gates on a CD and print edition of the Codex Leicester. A controversial book on the Leonardo portrait on vellum, which has been christened La Bella Principessa, was published in spring 2010, with important new material in the Italian edition (Mandragora). With Giuseppe Pallanti, I have published Mona Lisa. The People and the Painting, Oxford 2017. An overview of my relationship with Leonardo and resulting publications is provided by Living with Leonardo. Fifty years of Sanity and Insanity in the Art World and Beyond (2018). The 500th anniversary in 2019 of Leonardo’s death brought a spate of publications, including The Life of Leonardo da Vinci by Giorgio Vasari; Leonardo da Vinci. The 100 Milestones; Leonardo by Leonardo (on the paintings); and a French translation of the 1981 monograph, Léonard de Vinci, Citadelles, Paris

The summation of the optical researches is The Science of Art. The Optical Themes in Western Art from Brunelleschi to Seurat, Yale University Press, 1990 and 1992. Anatomical themes and related topics from natural history and the ‘hard’ sciences are explored in two books written during my 5 years as British Academy Wolfson Research Professor: Seen and Unseen. Visual Angles on Art and Science, and Structural Intuitions.

My main period researches have involved the Renaissance, summarised in my book, Behind the Picture. Art and Evidence in the Italian Renaissance in 1997, with ancillary areas of research in British and French art c. 1750-1830, and early photography. I have written quite extensively about living artists.

The broad thrust of recent work is devoted to a history of the visual, which embraces the wide range of artefacts from science, technology and the fine and applied arts that have been devised to articulate our visual relationship to the physical world. A scientific diagram or computer graphic model of a molecule is as relevant to this new history as a painting by Michelangelo. Direct expressions of this vision are to be found in the Centre for Visual Studies which I founded in Oxford and in the series on ‘Art and Science’, ‘Science and Image’,  and “Science and Culture’ in my weekly (then monthly) page in Nature (the first 50 articles published in book form as Visualizations, OUP). A number of these themes are brought together in Seen / Unseen, OUP, 2006. In particular I have explored the notion of “structural intuitions” as a way of understanding shared starting points in art and science, including a book, Structural Intuitions, resulting from the Page Barbour Lectures at the University of Virginia. Biological and philosophical themes are explored in The Human Animal in Art and Science (Chicago, 2007).

Christ to Coke. How Image Becomes Icon, which tells the stories of eleven images that have transcended time, place and function, ranging from Christ’s face to DNA, was published by OUP in 2011.

Art in History (Profile Books) covers 26 centuries of European and American Art in 40,000 words by concentrating on works that represent the changing nature of the conceptions of art and artists, and the changing role of the spectator. It was conceived as an animated e-book, but access to the animations and links to other websites is very limited.

The curation of exhibitions has been a major activity, both individually and with co-curators. These include: Leonardo da Vinci. Artist scientist engineer, London, 1989; Ca 1492. Art in the Age of Exploration, Washington, 1492; Spectacular Bodies. Art and Anatomy from the Renaissance to now; Leonardo da Vinci. Experience, experiment, design, London, 2005; Seduced. Art and sex from antiquity to now, London, 2007.

 

LIST OF PUBLICATIONS

(In order of publication within each section. Excluding most book and exhibition reviews and other occasional pieces. Books and free-standing publications in bold)

Art & Science

(And History of Science)

‘A Drawing for the Fabrica and Some Thoughts on the Vesalius Muscle-Men’, Medical History, XIV, 1970, pp. 277-88

Dr. William Hunter at the Royal Academy of Arts, Glasgow University Press, 1975.

‘Dr. William Hunter on the Windsor Leonardos and his Volume of Drawings Attributed to Pietro da Cortona’, The Burlington Magazine, CXVII, 1976, pp. 228-31.

‘Science, Non-Science and Nonsense: the Interpretation of Brunelleschi’s Perspective’, Art History, I, 1978, pp. 134-161.

‘Glasgow University, Bicentenary Celebrations of Dr. William Hunter’ (1718-83), The Burlington Magazine, No. CXXV, 1983, pp. 380-3.

‘Construction and Cunning: The Perspective of the Edinburgh Saenredam’, Dutch Church Painters, ed. H. Macandrew, Edinburgh, 1984, pp. 30-7.

‘Red, Yellow and Blue: the Limits of Colour Science in Painting’, The Natural Sciences and the Arts, ed. A. Ellenius (Acta Universitatis Uppsaliensis no. 22), Uppsala, 1984, pp. 98-105.

‘Geometrical Perspective from Brunelleschi to Desargues: a Pictorial means or an Intellectual End?’ (Aspects of Art Lecture, 1984), Proceedings of the British Academy, (1984), LXX, 1985, pp. 89-132.

‘Simon Stevin and Pieter Saenredam: A Study of Mathematics and Vision in Dutch Science and Art’, The Art Bulletin, LXVIII, 1986, pp. 237-51.

‘”Perspective Rectified”. Some Alternative Systems in the 19th Century’, AA Files, XV, 1987, pp. 30-4.

‘Perspective and Meaning: Illusion, Allusion and Collusion’, Philsophy and the Visual Arts, ed. A. Harrison, Dordrecht, 1987,pp. 255-68.

The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat, Yale University Press 1990, reprinted with revisions 1992; in Italian as La Scienza dell’arte. Prospettiva e percezione visiva da Brunelleschi a Seurat, Giunti, Florence, 1994; in Spanish as La Ciencia del Arte. La óptica en la arte occidental de Brunelleschi a Seurat, Ediciones Alkal,, Madrid, 2000.

‘Geometrical Bodies as Exemplary Forms in Renaissance Space’, World Art. Themes of Unity in Diversity (Acts ofthe XXVI International Congress for the History of Art, Washington, 1986, ed. I. Lavin, Pennsylvania and London, I, 1989, pp. 237-41.

‘Taking it on Trust: Form and Meaning in Naturalistic Representation’, Archives of Natural History, XVII, 1990, pp. 127-88.

‘”La diminutione di ciasun piano”: la rappresentazione delle forme nello spazio di Francesco di Giorgio’, Prima di Leonardo exhibition catalogue, ed. P. Galluzzi, Palazzo Comunale, Siena, 1991, pp.105-12.

‘Prescriptions for Painting: ‘”Optical Information” in Art from the Renaissance to the Late Nineteenth Century’, Kungl. Vitterhets Historie och Antikvitets Akademiens Konferenser (Stockholm), XXIII, 1991, pp. 9-28.

‘Intellectual Ornaments: Style, Interpretation and Function and Society in Some Instruments of Art’, Interpretation and Cultural History, ed. J. Pittock and A. Wear, London, 1991, pp. 135-152

‘True to their Natures: Sir Joshua Reynolds and Dr. William Hunter at the Royal Academy of Arts’, Notes and Records of the Royal Society of London, XLVI, 1992, pp. 77-88.

‘”The Mark of Truth”: Looking and Learning in some Anatomical Illustrations from the Renaissance and the Eighteenth Century’, Medicine and the Five Senses, ed. W. Bynum and R. Porter, Cambridge, 1993, pp. 85-121.

‘Picturing the Prehistoric’, review symposium of M. Rudwick’s, Scenes from Deep Time, in Metascience, IV, 1993, pp.70-3.

‘”Philosophy in Sport” and the “Sacred Precincts’: Sir David Brewster on the Kaleidoscope and Stereoscope’, Muse and Reason. The Relation of Arts and Sciences 1650-1850, ed. B. Castel, J. Leith and A. Riley, Kingston (Ontario), 1994, pp.203-32 (with Appendix by B. Pert)

‘Piero and the Idiots: the Early Fortuna of his Theories’, ‘Monarca della pittura’. Piero della Francesca and his Legacy, ed. M. Lavin, National Gallery, Washington, 1995, pp.199-211.

Materia Medica. A New Cabinet of Art and Medicine, exhibition and catalogue with K. Arnold, Wellcome Institute, London, 1995.

Bodyscapes. Images of Human Anatomy from the University of St. Andrews, exhibition and catalogue, Crawford Centre, 1995.

‘Spirals of Life: D’Arcy Thompson and Theodore Cook, with Leonardo and Dürer in Retrospect’, Physis, XXXII, 1995, pp. 37-54.

“Realtivity not Relativism: Thoughts on the Histories of Art and science having ReRread Panofsky”, Meaning in the Visual Arts. Visons from the Outside (Erwin Panofsky. A Centennial Celebration), ed. I. Lavin, 1995, pp. **-**.

‘New Light on Old Theories: Piero della Francesca and the Transmission of Light’, Piero della Francesca tra arte e scienza, ed. M. Dalai Emiliani and V. Curzi, Venice, 1996, pp. 33-46.

‘Temples of the Body and Temples of the Cosmos: Vision and Visualisation in the Vesalian and Copernican Revolutions’, for volume on Picturing Knowledge. Historical and Philosophical Problems Concerning the Use of Art in Science, ed. B. Baigrie, Toronto, 1996, pp. 40-85.

‘”Wrought by No Artist’s Hand”: the Natural, Artificial and Exotic in Some Artefacts from the Sixteenth Century’, Reframing the Renaissance: Visual Culture in Europe and Latin America, 1450-1650, ed. C. Farago, New Haven and London, 1996, pp. 177-96.

‘”Implanted in our Natures”: Humans, Plants and the Stories of Art’, Visions of Empire. Voyages, Botany and Representations of Nature, ed. D. Miller, Los Angeles, 1996, pp. 197-229.

‘Doing What Comes Naturally: Morphogenesis and the Limits of the Genetic Code’, Art Journal, ed. B. Sichel and E. Levy, Spring 1996, pp.27-32.

‘The Ambiguous Object: the Perception of Artefacts within Changing Taxonomies’, The World, the Image and Aesthetic Experience. Interdisciplinary Perspectives on Perception and Understanding, ed. C. Murath and S. Price, Bradford, 1996, pp. 193-222.

‘In the Light of Dante: Meditations on Natural Light and Divine Light in Piero della Francesca, Raphael and Michelangelo’, Ars naturam adiuvans. Festschift für Matthias Winner, ed. V. von Flemming and S, Schütze, 1996, pp. 160-77.

‘Art and Science, The Art Quarterly, Spring 1996, pp. 33-5.

‘Seeing Subjects and Picturing Science: Visual Representation in 20th-Century Science’, for 20th- Century Science, ed. J. Krige and D. Pestre, Amsterdam, 1997, pp. 361-90.

‘Medicine in View: Art and Representation’, for Western Medicine. An Illustrated History, ed. I. Loudon, Oxford, 1997, pp. 1-24.

‘Parading the Horse’, The Art Quarterly, XXX, 1997, pp. 24-31.

‘Hidden Dimensions’, ‘tate’. The Art Magazine, 13, 1997, pp. 40-4.

‘Art and Science’, 28 articles in weekly series in Nature from 23 October 1997, to 30 April 1998 (essays on topics from the Renaissance to now)

‘Science and Image’, 36 articles in weekly series in Nature from 7 May 1998 to Dec 1998 (essays on the visual aspects of the sciences from the Renaissance to now; see also below)

‘‘Palissy’s Philosophical Pots: ceramics, grottos and the “Matrice” of the earth’, Le origini della Modernità, ed. W. Tega, 2 vols., Florence, 1999, pp. 69-88

Imagine e Verità. Per una storia dei rapporti fra arte e scienza, Il Saggiatore, Milan, 1999.

Introductory essay in The Physician’s Art. Representations in Art and Medicine, Duke Univeristy Medical Centre, 1999, pp.13-19.

“Vision and Visualisation in the Illustration of Anatomy and Astronomy from Leonardo to Galileo”, 1543 and All That, ed. A. Corones and G. Freeland, Kluver, Amsterdam, 2000, pp. 17-51.

with Debora Schultz, ‘Us and Them, This and That, Here and Trere, Now and Then: Collecting, Classifying and Creating’, Strange and Charmed. Science and the Contemporary Visual Arts, ed. S. Ede, London, 2000, pp.84-103.

‘The Temple of Flora. Robert Thornton, Plant Sexulaity and Romantic Science’, Natura-Cultura. L’interpretazione del mondo fisico nei testi e nelle immagini, ed. G. Olmi, L. Tongorgi Tomasi and A. Zanca, Florence, 2000, pp. 15-28.

“The Handyworke of the Incomprehensible Creator”, Writing on Hands. Memory and Knowledge in Early Modern Europe, ed. C.R. Sherman and P.M. Lukehart, Dickinson College and Folger Shakespeare Library, Washington, 2000, pp. 22-7.

Visualizations: the Nature Book of Art and Science (based on articles for Nature), 2000, Oxford University Press and University of California Press (also in German)

with Marina Wallace, Spectacular Bodies. The Art and Science of the Human Body from the Renaissance to Now, book for exhibition at Hayward Gallery in London , University of California Press, 2000.

‘Vedere lo spazio e misurare le immagini: Brunelleschi e la prospettiva urbana’, La Cattedrale come spazio sacro (Atti del VII centenario del Duomo di Firenze, vol. II, pt. 2), ed. T. Verdon and A, Innocenti, Florence, 2001, pp. 661-72.

“From Diffferent Points of View: Corrgeggio, Copernicus & the Mobile Observer”, Coming About… A Festschrift for John Shaeraman, ed. L. Jones and L. Matthew, Cambridge (Mass.), 2001, pp. 207-13.

“The Flower of Mathematics: Perspective in Perspective”, Geometry and Space. The Celebrated Books on Geometry, Optics and Perspective of M. Arnaud de Vitry, Sotheby’s, London, 10-11 April 2002

“Looking and Counting. From the Visual to the Non-Visual”, Gergor Mendel. The Genius of Genetics, ed. C. Albano and M. Wallace, Brno, 2002, pp. 56-63.

“Gergor Mendel; the genius of genetics”, Interdisciplinary Science Reviews, XXVII, 2002, pp. 120-124.

“The Mona Lisa of Modern Science”, 50 Years of DNA, ed. J. Clayton and C. Dennis, Nature / Palgrave, Basingstoke, 2003, pp. 102-6; also in The Double Helix – 50 years, Nature Supplment, 23 Jan 2003.

“Wissen in Bildern – Intuitionen in Kunst und Wissenschaft”, Iconic Turn. Die Macht der Bilder, ed. C. Marr and H. Burda, Cologne, 2004, pp. 382-406.

with Antonio Criminisi and Sing Bing Kang, “Reflections of Reality in Jan van Eyck and Roger Campin”, Historical Methods, III, 2004, pp. 109-21.

“From science in art to the art of science”, Nature, 434, 17 March 2005, pp. 308-9, also as Supplement: artists on science; scientists on art.

Seen and Unseen. Art, Science, and Intuition from Leonardo to the Hubble Telescope, Oxford University Press, Oxford, 2006.

“Imitation, Optics and Photography”, Inside the Camera Obscura. Optics and Art under the Spell of the Projected Image, ed. Wolgang Lefrèvre, Max-Plank-Institut für Wissenschaftsgeschichte, 2007, 243-64

With Antonio Criminisi, “Computer Vision and Painter’s Visions in Italian and Netherlandish Art of the Fifteenth Century”, Perspective, Projections and Design. Technologies of Architectural Representation, ed. Mario Carpo and Frédérique Lemerle, London and New York, 2007, pp. 31-46

“Th Human Animal”. History Today, LVII, 11, 2007, pp. 34-41.

Th Human Animal in Western Art and Science, Chicago, 2007

“Foreword”, Karl Grimes, Dignified Kings Play Chess on Fine Green Silk, National Museum of Ireland, Dublin, 2007

“The Natural Philosopher as Builder”, Cecil Balmond. Frontiers of Architecture I, ex. cat., ed. M. Holm and K. Kjeldsen, Louisiana, Museum of Modern Art, 2007, pp.90-8.

“Microcosm, Macrocosm”, The World opf 1607, ex cat., Jamestown / Williamsburg, 2007-8, pp. 135-42

Acts of Seeing. Artists, Scientists and the History of the Visual. A volume dedicated to Martin Kemp, ed. Assimina Kaniari and Marina Wallace, Zidane Press, London, 2009 (with small contributions from MK)

“Style and Non-Style in Aanantomical Illustration: from Renaissance Humanism to Henry Gray, Journal of Anatomy, 216, 2010, pp. 192-208.

‘Science and Culture’, continuing series of monthly articles in Nature from Jan 1999 (continuation of column begun in 1997).

“Loving Insight”; D’Arcy Thompson’s Aristotle and the Soul in Nature”, Turning Images in Science Philosophy and Religion: A New Book of Nature, ed. C. Taliaferro and J Evans, Oxford, 2011, pp. 5-24

 

‘Science and Culture’, continuing series of monthly articles in Nature from Jan 1999-2011 (continuation of column begun in 1997).

 

with Menfei Huang, Holly Bridge and Andrew Parker (2011) “Human cortical activity evoked by the assignment of authenticity when viewing works of art”, Frontiers in Human Neuroscience. 2011, 5, no. 134, pp. 1-8.

http://journal.frontiersin.org/Journal/10.3389/fnhum.2011.00134/full

“A Historical Perspective: Continuity, Change and Progress, as Viewed through Visual Imagery”, in L. Engwall ed.,Scholars in Action: Past–Present–Future (Nova acta Regiae Societatis scientiarum Upsaliensis. Ser. 5, volumen extra ordinem editum),  2, Uppsala, 2012, pp. 29-41. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-174454

“ ‘The Testimony of My Own Eyes’: The Strange Case of a Mammal with a Beak”, Spontaneous Generations, VI,  2012, pp. 1-7. jps.library.utoronto.ca/index.php/SpontaneousGenerations. ISSN 1913 0465

 

“Art and the Science of Appearance”, Karger Gazette, October 2013, pp. 8-9.

 

“A Question of Trust: Old Issue and New Technologies”, Representation in Scientific Practice Revisted, ed. C Coopmans, J Vertesi, M Lynch and Steve Woolgar, Cambridge (Mass.) 2014, pp. 343-6.

 

Structural Intuitions. Seeing Shapes in Art and Science, Charlottesville, Virginia, 2016

 

“Sex and Science in Robert Thornton’s Temple of Flora“, The Public Domain Review, Selected Essays vol III, Cambridge, pp. 113-21.

 

“A Clearer Picture…”, New Scientist , December 2016, pp. 84-5. https://www.newscientist.com/article/mg23231041-900-neuroscience-vs-art-lets-talk-across-the-divide/

 

“Artists in Labs. Pros and a Few Cons”, Institutional Critique to Hospitality: Bio Art Practice Now, ed. Assimina Kaniari, Athens, 2017, pp. 117-29.

 

“What is the Use of Perspective Books?” Collection Thomas Vroom. Une histoire de la perspective, Pierre Berge sale catalogue, Paris 2019, pp. 9-15 (http://fr.zone-secure.net/29754/1073555/#page=1)

© Martin Kemp, 2020

Terms of engagement

© Martin Kemp, 2020