Martin Myrone is a curator and art historian specialising in British art of the 18th and 19th centuries. He has been a curator at Tate Britain since 1998. As Lead Curator, British Art to 1800, he works with the team of Curators and Assistant Curators responsible for the development of and research into Tate’s holdings of artworks from the sixteenth to the early nineteenth century. He has delivered a range of exhibition and display projects at Tate Britain, including Gothic Nightmares: Fuseli, Blake and the Romantic Imagination (2006), William Blake’s 1809 Exhibition (2009) John Martin: Apocalypse (2011–12) and British Folk Art (2014).
Martin Myrone’s research has centred on British art of the ‘long’ eighteenth century (c.1650–1850). He has a special interest in the work of Henry Fuseli, William Blake and in history painting c.1750–1830, with a particular focus on questions of gender and identity and on the emerging exhibition cultures and art worlds of the period. He has also published on the historiography of ‘folk art’ in Britain and in 2010 ran an AHRC Research Network on ‘Folk Art and the Art Museum’. From 2009 to 2012 he was a co-investigator in the Tate Britain-University of York project, Court, Country, City: British Art 1660–1735, funded by the AHRC. In 2014-2015 he held a Paul Mellon Mid-Career Fellowship. He has supervised Collaborative Doctoral projects on a range of British art topics, partnering with the University of York, UEA, the Courtauld, and the University of Bristol. He is a member of the Advisory Council of the Paul Mellon Centre for Studies in British Art, and Trustee of Gainsborough’s House, Sudbury.
He is preparing a major exhibition of the work of William Blake for Tate Britain in 2019-20, and is working on two book projects, The Talent of Success, on art education and artistic identity in Britain c.1770-1840, and on the portrait and history painter Henry Perronet Briggs (1793-1844) and the moral crisis of British art at the advent of liberal modernity.
‘Drawing after the Antique at the British Museum, 1809–1817: “Free” Art Education and the Advent of the Liberal State", British Art Studies, Issue 5 (3 April 2017), https://doi.org/10.17658/issn.2058-5462/issue-05/mmyrone
“William Blake’s Sodomites” in Diana Dethloff et al eds., Burning Bright: Essays in Honour of David Bindman, UCL Press, London, 2015, pp.136–145
With Jeff McMillan and Ruth Kenny, British Folk Art, exhibition catalogue, Tate Britain 2014 144pp.
John Martin: Apocalypse, exhibition catalogue, Tate Britain 2011, 240pp.
‘“Something Too Academical”: The Problem with Etty’, in Sarah Burnage, Mark Hallett and Laura Turner (eds.), William Etty: Art & Controversy, exhibition catalogue, York Museums Trust 2011, pp.47–59.
‘The Body of the Blasphemer’, in Helen P. Bruder and Tristanne Connolly (eds.), Queer Blake, Basingstoke 2010, pp.74–86.
The Blake Book, London 2007, 224pp.
William Blake: Seen in my Visions: A Descriptive Catalogue of Pictures, London 2009, 128pp.
Gothic Nightmares: Fuseli, Blake and the Romantic Imagination, exhibition catalogue, Tate Britain, London 2006, 224pp.
Bodybuilding: Reforming Masculinities in British Art, 1750–1810, New Haven and London 2005, 284pp.
With Lucy Peltz (eds.), Producing the Past: Aspects of Antiquarian Culture and Practice 1700–1850, Aldershot 1999, 214pp.