MA, PhD (UBC)

Dr. Monteyne has published on seventeenth-century painting and print culture, twentieth-century art, contemporary independent magazine culture, and American popular imagery in international journals such as Art History and Oxford Art Journal as well as in edited volumes published by Bis/Gingko/Thames and Hudson and Nouveau Monde Editions. He has also recently written some contemporary art criticism. His first book, The Printed Image in Early Modern London: Urban Space, Visual Representation, and Social Exchange, was published by Ashgate in 2007. His second book, From the Still-Life to the Screen: Print Culture, Display, and the Materiality of the Image in Eighteenth-Century London was published by Yale University Press in 2013. He is currently completing his third book, Gillray’s Eyes: Vision and Violence in Late Georgian London, and is beginning a new project on animal human hybridity in the late eighteenth and early nineteenth centuries.

Professor Monteyne has been the recipient of numerous awards and fellowships, including a Governor General of Canada’s medal for his Master’s thesis, and postdoctoral fellowships from the Paul Mellon Center for Studies in British Art and the Social Sciences and Humanities Research Council of Canada, the latter of which he undertook at the Courtauld Institute in London. He has received an Andrew Mellon Fellowship, a William Keck Fellowship for Junior Faculty, and a Robert Wark Fellowship from the Huntington Library in San Marino, California, as well as a Residential Fellowship from the Yale Center for British Art in New Haven. Most recently he was awarded a prestigious Mid-Career Fellowship from the Paul Mellon Centre for Studies in British Art, relieving him of teaching duties for the fall semester of 2016 in order to complete his Gillray book manuscript.

Dr. Monteyne teaches Renaissance art, seventeenth-century art and architecture of Italy and Spain, Northern Baroque art and architecture, and historiography and methodologies of art history at the undergraduate level, and recent graduate seminars include: “The Visual Culture of Knowledge: Early Modern Art and Science”; “Thresholds of Difference: Anxious Points of Contact in Early Modern Visual Culture”; “The Grotesque: Persistence of a Cultural Form”; “The Ecstasy of Violence: Pain and Pleasure in Early Modern Visual Culture”; “Print and Graphic Culture 1500–1960”; “Secular art and the Market: the Minor Genres in Europe 16th–18th century”; “The Expanded Field of Early Modern Sculpture,” and “Historiography and Methodologies of Art History and Visual Culture.”