I teach modern art and visual culture for both the first year course (Prelims) and courses taken in subsequent years. At masters level, my teaching focuses on French modernism and the interaction between art and mass culture. In all my teaching I encourage students to engage as closely as possible with actual works of art, regularly leading visits to collections in Oxford and beyond.
Matisse and the Subject of Modernism (Princeton University Press, 2006)
Focusing on the period 1905-1913, this provocative and groundbreaking new book refutes the popular view of Matisse as the painter of relaxed pleasures, the master of decorative line and sensuous color. Alastair Wright discovers a darker, more complex side to Matisse: an artist whose work, caught in the uneasy space between modernism and tradition, was fundamentally engaged with the most pressing of modernity's artistic and ideological debates. Presenting a series of brilliant and highly original analyses of Matisse's most important early paintings, Wright locates the artist within a wider cultural field in which the identities of modernism--and of its viewers--were highly contested. Wright offers a penetrating examination of the public response to Matisse's work, arguing that his early-twentieth-century audience found in his painting a deeply disturbing challenge to contemporary concepts of the self, of the nation, and of the West. This sumptuously illustrated book positions the work of Matisse and a number of his contemporaries in relation to key aspects of modernity--the commodification of the individual, the dislocation of cultural identity, and the effacement of racial boundaries under the pressure of imperial expansion--and provides a compelling account of how these contradictory historical materials fused to give birth to Matisse's modernism. What emerges is a renewed sense of the rich complexity of an artistic practice suspended between the seductive potential of pure color and an always ambivalent engagement with tradition. Tracing the interplay between Matisse's painting and discourses of art and subjectivity, Wright offers a significant new reading of one of the central figures of early-twentieth-century modernism.
French modernist art
Art and Politics
My research focuses primarily on European modernisms. My first book, Matisse and the Subject of Modernism, was published by Princeton University Press in 2004, and more recently I curated an exhibition of Paul Gauguin’s prints at the Princeton University Art Museum. The accompanying catalogue, Gauguin’s Paradise Remembered: The Noa Noa Prints, examined the role played by reproduction in Gauguin’s understanding of French colonialism in Tahiti. I have published essays inArt History, Oxford Art Journal, Art Bulletin, Burlington Magazine, Gazette des Beaux-Arts, Artforum International, Nineteenth-Century Art Worldwide and in various edited volumes.
I am currently working on two new projects. In the first I am exploring the question of artistic belatedness in French art of the late 19th and early 20th centuries, with a particular emphasis on the work of the Neo-Impressionists. The second is a study of the politics of embodied spectatorship in the work of the 19th-century British painter Ford Madox Brown.
Fallen vision: Gauguin in Polynesia
On seeing and being seen: Class and Vision in Ford Madox's Brown Work
On the Origins of Abstraction: Seurat and the Screening of History
On not seeing Tahiti: Gauguin's Noa Noa and the rhetoric of blindness
On Seeing and Being Seen: Beholding Class in Ford Madox Brown’s Work
Gauguin and the Dream of the Exotic
Search for Paradise: The Prints of Paul Gauguin
Blinded by the Sun
Gauguin’s Exotic Domesticity
Le peinture schizophrène et l’intensification du regard