Robert Wellington is Senior Lecturer in the Centre for Art History and Art Theory at the Australian National University. He is an art historian with a special interest in the role of material culture in history making and cross-cultural exchange. Prior to receiving a Ph.D. in art history from the University of Sydney, he has ten years experience in various roles in the contemporary arts sector. Robert was the inaugural convenor of the ANU French Research Cluster, and is currently the ACT representative of the Art Association of Australia and New Zealand (AAANZ). He is the Book Placement Editor for Early Modern Art History Studies (1500-1800) for H-France, and on the advisory panel to the Bloomsbury Academic book series, The Material Culture of Art and Design. Robert has a strong interest in digital art history, convening the public symposium Recasting the Question: Digital approaches in art history and museums in November, 2015. He is CI on the ARC Discovery Project, Performing Transdisciplinarity.
- Louis XIV
- Ancien règime France
- French art, 1500-1900
- Theories of history
- The history of collecting
- Material culture
- Print culture
- Images of war
- Cross-cultural exchange in the early-modern period
- Transcultural aesthetics
- Digital art history and cultural heritage
Antiquarianism and the Visual Histories of Louis XIV: Artifacts for a future past. Single author monograph (Aldershot and Burlington: Ashgate, in Press, October 2015)
“Médailles en mouvement: la réception des médailles de Louis XIV à la croisée des cultures,” in Yvan Loskutoff (dir.) Le Médailles de Louis XIV et Leur Livre, trans. Y. Loskutoff, (Mont-Saint-Aignan, PURH, 2016).
“Lines of Sight: Israël Silvestre and the axial symbolism of Louis XIV’s gardens at Versailles,” Studies in the History of Gardens and Designed Landscapes (November, 2016).
“Louis XIV’s Medals Cabinet at Versailles,” The Medal 67 (Autumn, 2015).
“The cartographic origins or Adam-Franz van der Meulen’s Marly Cycle,” in Print Quarterly 28, 2 (June, 2011).
Chercheur invité, Centre André Chastel, Paris. January-December, 2018.
Visiting Reasearch fellow, The Getty Research Institute Library, February-March, 2018.
Visualizing Venice Summer School, 5th edition. Digital Visualization Training Workshop 2016: the Ghetto of Venice Mapping and Modelling the Venice Ghetto, June 8-20, 2016. (Travel and accommodation fully funded)
Visiting Scholar, Yale Center for British Art, New Haven, January 2014. Project title: A War of Visual Histories: British appropriations of French triumphal imagery at Marlborough House. (Travel and accommodation fully funded)
The Power Institute Studio Residency, Cité Internationale des Arts, Paris, Oct – Dec 2011. Project title: The Visual Histories of Louis XIV.
SELECTED GRANTS, AWARDS, AND PRIZES:
Australian Government Endeavour Mobility Grant for Art of the European Courts, 1500-1815 ($25,000).
Australian Council of Art and Design Schools (ACUADS), Innovative Research Award, September 2017.
Australian Research Council Discovery Project for Performing Transdisciplinarity (with Glenn Roe, Erin Helyard, Mark Ledbury, and Nicholas Cronk) ($249,000), November 2016.
ANU, Humanities Research Centre conference funding grant for Enchanted Isles, Fatal Shores: Living Versailles, National Gallery of Australia, March 2017 ($10,000). 2016.
University of Sydney Power Institute conference funding grant for Enchanted Isles, Fatal Shores: Living Versailles, National Gallery of Australia, March 2017 ($10,000). 2016
Australian Government Endeavour Mobility Grant for Art of the European Courts, 1500-1815 ($20,000). 2016.
Australian Academy of the Humanities, Publication Subsidy Scheme Grant ($2,000). 2015.
ANU RSHA Visiting Scholars grant for Digital Approaches in the Study of Early Modern Culture, November 2015 ($10,000). 2015.
University of Sydney Power Institute conference funding grant for Digital Approaches in the Study of Early Modern Culture, November 2015 ($10,000). 2015.
University of Sydney Power Institute conference funding grant for Gallipoli/Gelibolu, May 2015 ($10,000). 2015.
SELECTED PUBLIC LECTURES:
“Proof stones of history: Medals and intermediality,” Bowdoin College Museum of Art, July 2018.
“Tanned by the Sun King: Donald Trump and Louis XIV,” The Metropolitan Museum of Art, April 2018.
“Onontio’s Reward: When Louis XIV’s head hung from Native American necks,” University of Southern California-Huntington Early Modern Studies Institute, February 2018.
“On the Love of Beautiful Things,” The Last Lecture, 2017, Australian National University, November 2017.
“Bernini and the King’s Forehead,” National Gallery of Australia, Canberra, March 2017.
“Antiquarianism and the Visual Histories of Louis XIV,” Staatliche Münzsammlung, Munich, September 2016.
“Sun King to Moon King: Emulating the Grand Siècle in the 18th and 19th Centuries,” The Françoise and Georges Selz Lectures on 18th- and 19th-CenturyFrench Decorative Arts and Culture, Bard Graduate Centre, New York, January 2016.
“A War of Visual Histories: British appropriations of French triumphal imagery at Marlborough House,” Yale Center for British Art staff and scholars seminar, January 2014.
CONFERENCES AND SYMPOSIA:
Enchanted Isles, Fatal Shores: Living Versailles, National Gallery of Australia, 17-18 March 2017.
The Work of Art, Art Association of Australia and New Zealand Annual Conference, Australian National University, 1-3 December 2016.
Versailles in the World, New York University, 29 January 2016.
Recasting the Question: Digital Approaches in the Study of Art History, Australian National University and The University of Sydney, 2-5 November 2015.
Gallipoli/Gelibolu, Art Gallery of New South Wales, 22 May 2015.
- ARTH1006: Art and Design Histories: Form and Space
- ARTH1007: Art and Design Histories: Making and Meaning
- ARTH2080/6080 Art and Visual of the Long Eighteenth Century, 1660-1815
- ARTH2081/6081 Art of the European Courts, 1500-1800
- ARTH4018/8013 East-West Interactions in Art
- ARTH4017/8012 Methodologies of Art History