The Organisers

Alexis Clark is Assistant (Teaching) Professor in the History of Art at North Carolina State University. Her research concentrates the historiography and museology of nineteenth- and twentieth-century art with a focus on impressionism. 

Dr Clark's publications raise questions related to art and language: style, translation and silent translators; the international circulation of art writing and international copyright laws; the definition and redefinition of art-historical categories; and the limits of language to communicate the experience of art. Her articles have appeared in the Archives of American Art Journal, Burlington Magazine, Museum History Journal, and Oxford Art Journal. With Frances Fowle, Alexis edited Globalizing Impressionism: Reception, Translation, and Transnationalism (Yale UP 2020). Together with Martha Ward, she edited an Oxford Art Journal special issue, 'Impressionism After Impressionism' (August 2023). 

In April 2024, Art in America named Globalizing Impressionism one of the 'most essential books in Impressionism'. 

Allison Deutsch is Leverhulme Early Career Fellow in the School of Historical Studies at Birkbeck, University of London. Dr. Deutsch received her BA from Williams College and her PhD in the History of Art from University College London. 

Her first book, Consuming Painting: Food and the Feminine in Impressionist Paris (The Pennsylvania State UP 2021) examines the culinary metaphors that influential early critics used to express attraction or disgust toward modern-life painting, in deeply gendered terms. The language of food and consumption reveals the visceral reactions that these paintings invited, offering new histories for familiar artworks and fresh possibilities for experiencing and interpreting them. Her current book project, Impressionism at the Margins: Colonialism and the Critical Reception, traces a colonial imaginary through which many writers expressed anxiety about French impressionism. 

Prior to Birkbeck, Dr Deutsch was Associate Lecturer at The Courtauld Institute of Art, Teaching Fellow at University College London, and Junior Research Fellow at the Institute of Advanced Studies, University College London.

Claire Moran is Reader in French Studies at Queen’s University, Belfast. Her research is broadly based on 19th-century France and Belgium and many of her publications are in this area. 

Her publications include articles on Courbet, Manet, Ensor, Redon and other nineteenth-century artists, the monograph Staging the Artist (Routledge, 2017), an edited volume Domestic Space in France and Belgium (Bloomsbury, 2022), as well as two special issues on The Interior in Belgium and on Intimacy with the journal, Dix-Neuf (2019; 2021). 

Dr Moran has recently published an article on Berthe Morisot and the plein-air interior with Nonsite and is currently completing a monograph called Morisot’s Modernism and Impressionist Art (Routledge, 2024) for which she was awarded the 2021 Society of French Studies Research Prize Fellowship.

Samuel Raybone is a historian of nineteenth-century art and visual cultures, specialising in the history and historiography of Impressionism. Samuel expands and nuances understanding of Impressionism's origins, development, and scope by recovering neglected forms of visual evidence and examining marginalised cultures, spaces, and practices, all seen through the lens of innovative methodologies.

Dr Raybone's Gustave Caillebotte as Worker, Collector, Painter, now in paperback, re-interprets the career of this once-forgotten painter by foregrounding his compulsions to work and to collect.

His current research project, Ephemeral Impressions: Impressionism in the Age of Ephemera examines the impact of colour-printed ephemera (transient, disposable images like restaurant menus, advertising cards, and packaging) on the development of Impressionist aesthetics.

Concurrently, Dr Raybone is engaging with decolonial art history to unpick the complex relationships between transnational circuits and national imaginaries in the collection, display, and reception of Impressionism in Wales.