Liz Renes is a recent History of Art graduate from the University of York. Her Ph.D. thesis explored John Singer Sargent's relationship with the British Aesthetic and French Impressionist Movements in his early career between 1878-1886. You can download it here: http://etheses.whiterose.ac.uk/8817/
She currently has a number of upcoming publications in relation to this research - '‘Selecting, transforming, recombining’: John Singer Sargent’s Madame X and the Aesthetics of Sculptural Corporeality' to be published in 2017 in the conference proceedings from Decadence and the Senses, and a to-be-titled work exploring Sargent's status as a mediator between the Victorian and Modernist Divides, for the proceedings from the Beyond the Victorian and Modernist Divide conference held in Rouen (2014). She will be co-editing a special edition of Visual Culture in Britain on Sargentology related topics, for print in 2018.
As the Visual Arts Convenor for the Bath Royal Literary and Scientific Institution (brlsi.org), she has participated in a number of events, most recently an interdisciplinary symposium on The Colour Blue with Bob Fosbury, Emeritus Astronomer, European Southern Observatory. She is also the curator of the recent exhibition of prints from Sebastião Salgado's Genesis in partnership with PhotoBATH (November 2016).
Emily Moore’s research interests focus on Anglo-American artistic tradition, cultural history, print culture and portraiture primarily in the Victorian and Edwardian eras. Having currently just defended her dissertation as a PhD candidate at the University of York supervised by Professor Elizabeth Prettejohn, her thesis is titled John Singer Sargent’s British and American Sitters: 1890-1910: Interpreting Cultural Identity within Society Portraits. This thesis relates portraits of American and British sitters by John Singer Sargent to ideas of national identity in the period leading up to the First World War. It also seeks to address implications of social issues present within Britain and America during the 1890s and 1900s that can be related directly to the composition of the portrait and/or through the biography of the sitter.