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Abstract

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This Cover Collaboration seeks to convey the atmospheric materiality of the studio-home of Frederic Leighton in the Holland Park area of West London. Five short films made by Jonathan Law highlight particular features of Leighton House, including the tiles of the Arab Hall imported from Turkey and the Middle East, the glittering golden chandelier, the sonorous tinkle of the fountain, and the peacock-inspired colours and textures of the interior design. The films are accompanied by texts chosen by Mary Roberts, author of an article on “The Resistant Materiality of Frederic Leighton’s Arab Hall” in this issue of British Art Studies.

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Figure 1.
Jonathan Law, The Boy-Narcissus, film, 1 minute 6 seconds, 2018.


Courtesy of the Paul Mellon Centre for Studies in British Art with support from the staff of Leighton House Museum, The Royal Borough of Kensington and Chelsea.

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Figure 2.
Jonathan Law, The Great Gilt Dome, film, 1 minute 4 seconds, 2018.


Courtesy of the Paul Mellon Centre for Studies in British Art with support from the staff of Leighton House Museum, The Royal Borough of Kensington and Chelsea.

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Figure 3.
Jonathan Law, The Fountain, film, 51 seconds, 2018.


Courtesy of the Paul Mellon Centre for Studies in British Art with support from the staff of Leighton House Museum, The Royal Borough of Kensington and Chelsea.

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Figure 4.
Jonathan Law, Pattern, film, 1 minute 25 seconds, 2018.


Courtesy of the Paul Mellon Centre for Studies in British Art with support from the staff of Leighton House Museum, The Royal Borough of Kensington and Chelsea.

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Figure 5.
Jonathan Law, Other Spaces, film, 1 minute 28 seconds, 2018.


Courtesy of the Paul Mellon Centre for Studies in British Art with support from the staff of Leighton House Museum, The Royal Borough of Kensington and Chelsea.

 

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Acknowledgements

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All five films were made for Issue 9 of British Art Studies by Jonathan Law at Leighton House Museum. Many thanks to Daniel Robins and Sam Butler at Leighton House for their kind assistance.

About the authors

  • Jon Law profile portrait

    Jonathan Law is a filmmaker, researcher and lecturer who works with the Centre on a freelance basis. As Research Fellow and Filmmaker, Jonathan is responsible for developing and producing collaborative research-led film content for the Paul Mellon Centre’s research publications and for special public screenings. Some of his recent work includes The Famous Women Dinner Service: In Conversation With Contemporary Art (2019, 17min), The Atmospherics of Leighton House (2018, 6min) and short films for the award-winning digital publication The Royal Academy Summer Exhibition: A Chronicle, 1769–2018 (2018, various duration).

    Amongst other current projects Jonathan is currently developing a film, with Rosie Ram and Mark Hallett, on the collage of Nigel Henderson, for display as part of the Tate Britain display Vital Fragments: Nigel Henderson and the Art of Collage (opening December 2019). Jonathan regularly contributes peer-reviewed film content to British Art Studies, the PMC’s award-winning, open-access online research journal.

    Jonathan has produced films for institutions including the Yale Center for British Art (on the work of artists George Shaw and Nicola Hicks), Tate (on Barbara Hepworth), and the Heong Gallery at Cambridge University (on British modernist painting). His films have been screened at Tate Liverpool, the Esker Foundation in Calgary, the Kunstmuseum Liechtenstein in Vaduz and at the Culture Capital Exchange Inside/Out festival in London.

    Jonathan was recently Teaching Fellow in Film Studies at Queen Mary, University of London, and has also taught Essay Filmmaking (The Derek Jarman Lab, Birkbeck College), Media and Film Production (University of West London), History and Philosophy of Photography (University of Kent), and Art History, Criticism and Communication (Central Saint Martins). Jonathan also delivered lectures and exhibition tours for ten years at the Royal Academy of Arts, London.

    Jonathan’s scholarly research has been particularly focused on cinema and multisensory culture. He holds a PhD in History and Philosophy of Art from the University of Kent, a PGCHE from the University of Kent, an MRes in Humanities and Cultural Studies from the London Consortium (University of London) and a BA in Fine Art from the University of Wolverhampton. 

  • Mary Roberts

    Mary Roberts, Professor of Art History at the University of Sydney, is a specialist in Ottoman art and European Orientalism, who has written extensively about patterns of transcultural exchange in the nineteenth century. Her most recent book, Istanbul Exchanges: Ottomans, Orientalists and Nineteenth-Century Visual Culture (Berkeley, CA: University of California Press,  2015), received the 2016 Best Book prize from the Art Association of Australia and New Zealand and was translated into Turkish by Türkiye Işbankası Kültür Yayınları that year. She is also the author of Intimate Outsiders: The Harem in Ottoman and Orientalist Art and Travel Literature (Durham, NC: Duke University Press, 2007) and has co-edited four books: Refracting Vision: Essays on the Writings of Michael Fried; Orientalism’s Interlocutors; Edges of Empire; and The Poetics and Politics of Place: Ottoman Istanbul and British Orientalism. She is currently writing a book on artists as collectors of Islamic art.

Imprint

Author
Jonathan Law, Mary Roberts
Date
07 August 2018
Category
Cover Collaboration
Review status
Not Peer Reviewed
Licence
CC BY-NC International 4.0
Downloads
PDF format
Article DOI
https://doi.org/10.17658/issn.2058-5462/issue-09/cover-collaboration
Cite as
Jonathan Law, Mary Roberts, "The Atmospherics of Leighton House", British Art Studies, Issue 9, https://doi.org/10.17658/issn.2058-5462/issue-09/cover-collaboration