Prossimo ricevimento giovedì 31 agosto dalle 17.00 alle 19.00 via Skype (tucker@unifi.it)

Paul Stephen

TUCKER

Associate Professor

in the History of Art Criticism

University of Florence, Italy


Department of History, Archeology, Geography, Art and Performance (SAGAS)


Curriculum vitae

Institutional address:

Dipartimento di Storia, Archeologia, Geografia, Arte e Spettacolo

Università degli Studi di Firenze

Via G. Capponi, 9

50129 Firenze, Italy

tucker@unifi.it

Nationality:

British

Fields:

History of art criticism, art collecting and the art market, with an emphasis on 19^th century Britain and Italy; the linguistic analysis and history of art discourse

Education:

• M.Litt., English Literature, Oxford 1983 (dissertation on the fiction of Walter Pater)
• B.A., English Literature, Cambridge 1977

Employment:

• Associate Professor in Museum Studies, History of Art Criticism and the History and Theory of Restoration, Department SAGAS, University of Florence, Italy, 2020-
• Research Fellow in Museum Studies, History of Art Criticism and the History and Theory of Restoration, Department SAMERL, subsequently SAGAS, University of Florence, Italy, 2012-20
• Research Fellow in English Language Linguistics, Faculty of Economics, University of Florence, Italy, 2003-2012
• Research Fellow in English Language Linguistics, University of Urbino, Italy, 2000-2003
• Language Consultant (English) for Machine Translation Project, IBM Research Centre, Pisa, Italy, 1991-1994
• English Language Lector, Centro Linguistico Interdipartimentale, University of Pisa, Italy, 1988-1999
• English Language Lector, Scuola Normale Superiore, Pisa, Italy, 1983-1988

Occasional courses:

• Visual Arguments: John Ruskin’s Relevance Today, Scuola Alti Studi, Lucca, October-November 2019
• The Translation of Art-Historical and Art-Critical Texts, English Department, University of Pisa, Italy, 2003-2004, 2004-2005
• Vasari in Nineteenth-Century Art Literature, Scuola di Specializzazione in Beni Culturali, Art History Department, University of Pisa, Italy, Spring 1999

Fellowship:

• Tate Gallery Research Department Fellowship, London, 2012-2013 (research subject: the papers of Adrian Stokes, Tate Gallery Archive)

Research groups:

• 2006-2008-2011-2012: “Archivio informatizzato delle testimonianze di cultura artistica e letteraria in fondi manoscritti fra Ottocento e Novecento: da Cavalcaselle a Brandi” – FIRB project coordinated by Donata Levi (University of Udine); part of “Carteggi e fondi manoscritti di storici dell’arte italiani fra Otto e Novecento” – FIRB project coordinated by Paola Barocchi (Fondazione Memofonte, Florence)
• 2008: “Percezione dello spazio nella comunicazione privata e pubblica: prospettive diacroniche e sincroniche” – PRIN project coordinated by Marina Bondi (University of Modena and Reggio Emilia)
• 2005: “Parole chiave e punto di vista valutativo/percettivo nella critica d'arte, nel discorso accademico storico e nel discorso aziendale” – PRIN project coordinated by Marina Bondi (University of Modena and Reggio Emilia)
• Member of CLAVIER (The Corpus and Language Variation In English Research Group), founded by the Universities of Bergamo, Florence, Modena and Reggio Emilia and Roma La Sapienza

Conferences/workshops organized:

• Argomentare per immagini: l'attualità di John Ruskin / Visual Arguments: John Ruskin's Relevance Today, organized together with the Scuola Alri Studi IMT, Lucca, and held at Lucca on 28 November 2019
• Adrian Durham Stokes (1902-72), Tate Gallery, London, 24 May 2013
• Point of View: Description and Evaluation across Discourses, University of Florence, 27-28 April 2007
• L’eredità italiana di John Ruskin 1900-2000 / John Ruskin’s Italian Legacy 1900-2000, organized together with the Gabinetto Vieusseux, British Institute and University of Florence, and held at Florence, 15-18 November 2000

PUBLICATIONS:

Books/critical editions/lecture:

• John Ruskin, Guide to the Principal Pictures in the Academy of Fine Art at Venice (1877) (Venezia: Edizioni Ca' Foscari, 2023)
• A Connoisseur and his Clients: the Correspondence of Charles Fairfax Murray with Frederic Burton, Wilhelm Bode and Julius Meyer, 79^th Volume of the Walpole Society, 2017
• Charles Fairfax Murray and Duccio’s Maestà. Photography, Art History and the Market in Early Paintings in Late Nineteenth-Century Siena (Bembridge: Guild of St George, 2008)
• John Ruskin, Guida ai principali dipinti nell’Accademia di Belle Arti a Venezia [Guide to the Principal Pictures in the Academy of Fine Art at Venice, 1877], trans. E. Sdegno (Milano: Electa, 2014)
• John Ruskin, “Résumé” of Italian Art and Architecture (1845) (Pisa : Scuola Normale Superiore, 2003)
• [co-author Donata Levi]Ruskin didatta: il disegno tra disciplina e diletto (Venezia: Marsilio, 1997)

Volumes edited:

• [co-editors Susanna Avery-Quash and Janet Barnes] ‘Art for the Nation: John Ruskin, Art Education and Social Change’:  a series of articles arising from a conference held at the National Gallery, London, 20–21 September 2019, Journal of Art Historiography 22 (June 2020) [https://arthistoriography.wordpress.com/22-jun20/]
• [co-editor Sara Radighieri] Point of View. Description and Evaluation across Discourses (Roma: Officina, 2009)
• [co-editor Jeanne Clegg] The Dominion of Daedalus. Papers from the Ruskin Workshop Held in Pisa and Lucca 13-14 May 1993 (St Albans: Brentham Press for the Guild of St George, 1994)

Textbooks:

• Modes of Description in English (Urbino: QuattroVenti, 2004)
• English and Experience. An Introduction to the Grammar of English Text for Italian University Students (Urbino: Quattroventi, 2002)

Chapters:

• 'Division, Juncture, System: Bridges and Bridge-Building in the Work of John Ruskin'. In John Ruskin’s Europe. A Collection of Cross-Cultural Essays, eds E. Sdegno, M. Frank, M. Pilutti Namer & P.-H. Fragne, Venezia: Edizioni Ca' Foscari – Digital Publishing, 2020, 181-212 [https://edizionicafoscari.unive.it/it/edizioni4/libri/978-88-6969-488-2/]
• 'Customer, Counsel, Associate, “Trustee”: Charles Fairfax Murray and Thomas Agnew and Sons (1886–1918)'. In Florence, Berlin and Beyond: Late Nineteenth-Century Art Markets and Their Social Networks, ed. Lynn Catterson (Brill: Leiden & Boston, 2020), 209-248
• ‘”Two Florentines”? Le donazioni italiane di Charles Fairfax Murray e Herbert Percy Horne’. In Donare allo stato. Mecenatismo privato e raccolte pubbliche dell'Unità d'Italia al XXI secolo, eds Lorenzo Casini, Emanuele Pellegrini (Bologna: Il Mulino, 2019), 67-78
• ‘“Pourquoi parler du tableau?": Art-Critical Syntax and Aesthetic Argument’. In Écrire l'art / Writing on Art, eds Anne-Pascale Bruneau-Rumsey, Anne-Florence Gillard-Estrada, Shannon Wells-Lassagne (Paris: Mare & Martin, 2015), 31-43
• ‘Language, Space and Object Identity in Writing on Visual Art’, in J. Bamford, F. Poppi & D. Mazzi (eds), Space, Place and the Discursive Construction of Identity (Berne: Peter Lang, 2014), 43-69
• ‘Justificatory Arguments in Writing on Art: Toulmin’s Model Tested on a Small Corpus of Eighteenth- and Nineteenth-Century Exhibition Reviews’. In Variation and Change in Spoken and Written Dialogue: Perspectives from Corpus Linguistics, eds J. Bamford, G. Diani & S. Cavalieri (Dialogue Analysis Series edited by Edda Weigand) (Amsterdam & Philadelphia PA: John Benjamins, 2013), 185-202
• After Tintoretto: Ruskin’s Venetian “Picture-Work” in 1845 and its Impact on his Art Critical Language. In K. Hanley, E. Sdegno (eds), Ruskin, Venice and Nineteenth-Century Cultural Travel (Venezia: Libreria Editrice Cafoscarina, 2010), 3-21
• ‘Subjectivity and Varieties of Representation’. In Threads in the Complex Fabric of Language. Linguistic and Literary Studies in Honour of Lavinia Merlini, eds M. Bertuccelli Papi, A. Bertacca  & S. Bruti (Pisa : Felici, 2008), 399-408
• [co-author D. Levi] ‘Questioni di metodo e prassi espositive: il ruolo della descrizione nell’opera di Adolfo Venturi’. In Adolfo Venturi e la Storia dell’arte oggi, ed. Mario D’Onofrio (Modena: Franco Cosimo Panini Editore, 2008), 211-218
• ‘“Inferential Muscle” and the Work of Criticism: Michael Baxandall on Adrian Stokes and Art Critical Language’. In The Coral Mind: Adrian Stokes's Engagement with Art History, Criticism, Architecture, and Psychoanalysis, ed. S. Bann (University Park, Pennsylvania: Pennsylvania State University Press, 2007), 161-188
• ‘Evaluation and Interpretation in Art-Historical Discourse’. In Academic Discourse: New Insights into Evaluation, eds G. Del Lungo Camiciotti & E. Tognini Bonelli (Bern: Peter Lang, 2004), 161-179
• ‘John Ruskin, Roberto Longhi e l‘“intonazione” del colore’. In L’eredità di John Ruskin nella cultura italiana del Novecento, ed. D. Lamberini (Firenze: Cardini, 2006), 247-269
• ‘“Reanimate Greek”: Pater and Ruskin on Botticelli’. In Walter Pater: Transparencies of Desire, eds L. Brake, L. Higgins & C. Williams (Greensboro, N. Carolina: ELT Press, 2002), 119-132
• ‘Ruskin studia i primitivi: i taccuini inediti del 1845’. In Giornate di studio in ricordo di Giovanni Previtali, ed. Francesco Cagliotti, (“Annali della Scuola Normale Superiore di Pisa [Classe di Lettere e Filosofia]”, Quaderni 1,2 [2000]), 357-373
• ‘Adrian Stokes and the "anti-Ruskin Lesson" of British Formalism’. In Ruskin and the Twentieth Century: the Modernity of Ruskin, ed. T. Cerutti (Vercelli: Edizioni Mercurio, 2000), 129-143
• [co-author D. Levi] ‘“A Line of Absolute Correctness”: Ruskin's Enlargements from Greek Vases and the Drawing Classes at Oxford’. In Ruskin and the Dawn of the Modern, ed. D. Birch (Oxford: Clarendon Press, 1999), 87-110
• ‘Giovanni Battista Cavalcaselle, John Ruskin e Charles Fairfax Murray: interlocutori e antagonisti’. In Giovanni Battista Cavalcaselle conoscitore e conservatore, ed. A.C. Tommasi (Venezia: Marsilio, 1998), 257-276
• ‘"A Whole World of Transformation": Landscape and Myth in Walter Pater's MS Fragment on Corot’. In Walter Pater (1839-1894). Le forme della modernità / The Forms of Modernity (Atti del convegno - Venezia Ca' Foscari 1 e 2 dicembre 1994), eds Elisa Bizzotto & Franco Marucci (Milano: Cisalpino, 1996), 45-80
• ‘Le Toscane di Ruskin: 1840-1882’. In The Dominion of Daedalus, eds J. Clegg & P. Tucker (St Albans: Brentham Press for the Guild of St George, 1994), 28-35
• ‘Pater as a "Moralist"’. In Pater in the 1990's, eds I. Small & L. Brake (Greensboro, N. Carolina: E.L.T. Press, 1991), 107-125

§  ‘Description and Point of View in Writing on Visual Art’. In Point of View. Description and Evaluation across Discourses, eds S. Radighieri & P. Tucker (Roma: Officina Edizioni, 2009), 51-68

Articles:

• [A letter and tribute to  James S. Dearden (1931-2021)], The Friends of Ruskin's Brantwood Newsletter (Spring 2022) https://www.brantwood.org.uk
•  ‘A ‘new clue’: Ruskin’s Guide to the Principal Pictures in the Academy of Fine Arts at Venice (1877), the history of Venetian art and the idea of the museum’, in ‘Art for the Nation: John Ruskin, Art Education and Social Change’:  a series of articles arising from a conference held at the National Gallery, London, 20–21 September 2019, guest edited by Susanna Avery-Quash, Janet Barnes and Paul Tucker, Journal of Art Historiography 22 (June 2020)[https://arthistoriography.wordpress.com/22-jun20/]
• [co-author Donata Levi] ‘J after J. Ruskin’: line in the art teaching of John Ruskin and Ebenezer Cooke’, in ‘Art for the Nation: John Ruskin, Art Education and Social Change’:  a series of articles arising from a conference held at the National Gallery, London, 20–21 September 2019, guest edited by Susanna Avery-Quash, Janet Barnes and Paul Tucker, Journal of Art Historiography 22 (June 2020) [https://arthistoriography.wordpress.com/22-jun20/]
• ‘Trecento «Characteristic», Trecento «Grotesque»: Frederic Burton, Charles Fairfax Murray and Early Sienese Painting in the National Gallery’, Predella, rivista semestrale di arti visive 41-42 (2017), 67-114
• ‘“Truth of Character from Truth of Feeling”: William Hazlitt, Gusto and the Linguistic History of Writing on Art’, Tate Papers 24 (2015) [https://www.tate.org.uk/research/publications/tate-papers/24/truth-of-character-from-truth-of-feeling-william-hazlitt-gusto-and-the-linguistic-history-of-writing-on-art]
• 'Eyesight, Knowledge, Argument: Charles Fairfax Murray on "Scientific" Connoisseurship', Studi di Memofonte 12 (2014), 106-143
• ‘An Unpublished Letter of Walter Pater’, Pater Newsletter (2014), 49-66
• [co-author D.Levi] '"Drawing is a kind of language": la didattica artistica in John Ruskin e nel dibattito inglese coevo', Annali di critica d'arte 10 (2014), 215-255
• ‘Roberto Longhi, John Ruskin e l‘“intonazione” del colore’, Annali di critica d’arte 2 (2006), 271-300
• ‘Evaluation in the Art-Historical Research Article’, Journal of English for Academic Purposes 2 (2003), 291-312
• ‘“Responsible Outsider”: Charles Fairfax Murray and the South Kensington Museum’, Journal of the History of Collections 14 (2002), 115-137
• [co-author G. Manieri Elia] ‘Reliquie, rappezzature, falsificazioni: vicende critiche e materiali del mosaico del duomo di Orvieto’,  Ricerche di Storia dell’Arte 73 (2001), 21-36
• ‘Alla riscoperta dell’”esegeta” Ruskin: a cento anni dalla scomparsa del celebre studioso e critico d’arte inglese’, Corriere del Ticino (15 February 2000)
• ‘The Use of the Definite Article in the Fiction of Walter Pater’, Rivista di Studi Vittoriani 2/4 (1997), 105-124
• ‘The Perception of Time in Narrative and the 'Transitionary' Use of Now’, Journal of Literary Semantics 26 (1997), 44-53
• ‘"Right Conclusions": 7 Unpublished Letters from John Ruskin to John Murray (1845-46)’, Annali d'Italianistica 16 (1996), 582-621; Bollettino del Centro Interuniversitario di Ricerca sul Viaggio in Italia (Torino), 33-34 (1996), 105-51
• [co-authorM. Gravina] ‘"John Ruskin's 1845 Résumé": un ipertesto in costruzione’, Bollettino del Centro di Ricerche Informatiche per i Beni Culturali, Scuola Normale Superiore, Pisa (1994 no. 2), 101-112
• ‘Displaced Deixis and Intersubjectivity in Narrative: Planar and Linear Modes’, Journal of Literary Semantics 22 (1993), 45-67
• [co-authorD. Levi] ‘Testimonianze visive nelle conferenze di Ruskin: i "diagrams"’, Ricerche di storia dell'arte 51 (1993), 85-101
• ‘Pater and Michelangelo, Interpreters of the Renaissance’, Annali della Scuola Normale Superiore di Pisa 17/1 (1987), 189-212
• ‘Browning, Pater and the Hellenic Ideal’, Browning Society Notes 9 (1979), 2-7

§  ‘“A Summing Up of All I Have Ever Thought”: Adrian Stokes’s ‘In Short’ (1942) and his Other Writings of the Period’, Tate Papers 20 (19 November 2013) [http://www.tate.org.uk/research/publications/tate-papers/summing-all-i-have-ever-thought-adrian-stokess-short-1942-and-his]

§  ‘Nuove testimonianze sugli affreschi assisiati: Ruskin e gli acquarelli della Arundel Society’(Appendice documentaria: ‘Lettere di John Ruskin a F. W. Maynard e a Joan Severn (1873-74)’, Studi di Memofonte 7 (2011) [http://www.memofonte.it/contenuti-rivista-n.7/p.-tucker-ruskin-e-gli-acquerelli-di-eduard-kaiser-per-la-arundel-society.html]

§  [co-author D.Levi] ‘“The Hand as Servant”: John Ruskin, Professor of the Manual Arts’, Predella, rivista semestrale di arti visive n. 29 (2011) Chirurgia della Creazione. Mano e arti visive, a cura di Annamaria Ducci (edizione in rete: [http://predella.arte.unipi.it/index.php?option=com_content&view=article&id=181&catid=65&Itemid=94]

Catalogue/dictionary entries and essays:

§  ‘Alexis-François Rio’. In Dictionnaire critique des historiens de l’art actifs en France de la Révolution à la Première Guerre mondiale. Published online March 2009 by the Institut National de l’Histoire de l’Art, Paris [http://www.inha.fr/spip.php?rubrique347]

• ‘Nota alle fotografie de Gori nella Collezione Murray’. In I Macchaioli e la fotografia, ed. M. Maffioli, S. Balloni & N. Marchioni [exh. cat Florence, Museo Nazionale Alinari della Fotografia, 4 December 2008-15 February 2009] (Firenze: Fratelli Alinari, Fondazione per la Storia della Fotografia, 2008), 211
• ‘Charles Fairfax Murray and Florence / Charles Fairfax Murray e Firenze’ and entries for works by William Morris, Charles Fairfax Murray and John Ruskin. In I Giardini delle regine: il mito di Firenze nell’ambiente preraffaellita e nella cultura americana fra Ottocento e Novecento / I Giardini delle regine. Of Queens’ Gardens: the Myth of Florence in the Pre-Raphaelite Milieu and in American Culture (19th-20th Centuries) [exh. cat Florence, Galleria degli Uffizi,  6 April 2004-31 August 2004] (Livorno: Sillabe, 2004), 102-111, 171-181, 190-192
• [All entries and introductory essays to sections in] Ruskin and Tuscany [exh. cat. Accademia Italiana, London; Ruskin Museum, Sheffield and Fondazione Ragghianti, Italy; January-July 1993] (London & Sheffield: Ruskin Gallery, Collection of the Guild of St George, Sheffield & Lund Humphries, 1993)

Reviews:

• ‘168 anni dopo: una guida visiva alle argomentazioni estetiche’. Review of Sarah Quill, Ruskin a Venezia: The Stones Revisited, trans. L. Russo (Milano: Jaca Book, 2018), “RSF Rivisita di studi di fotografia” 9 2019, 149-150
• ‘Titling and the Individuation of Artworks’. Review of Ruth Bernard Yeazell, Picture Titles. How and Why Western Paintings Acquired their Names (Princeton and Oxford: Princeton University Press, 2015), Predella, rivista semestrale di arti visive 41-42 (2017) [http://www.predella.it/images/41-42_Misce/41-42%2011%20Tucker_A4.pdf]
• ‘Ruskin and the Daguerreotype: a “Ziggy-Zaggy” Path between Learning and Mislearning’.
• Review of Ken Jacobson & Jenny Jacobson, Carrying Off the Palaces. John Ruskin’s Lost Daguerreotypes (London: Bernard Quaritch Ltd, 2015), RSF Rivisita di studi di fotografia 1/2 2015, 122-126
• Review of John Ruskin, Opere, ed. Giovanni Leoni (Laterza,1987), L'Indice (January 1988)
• Review ofGerald Monsman, Walter Pater's Art of Autobiography (Yale University Press, 1980), Prose Studies 4 (1981)

Lectures (in order of delivery):

• ‘Ruskin's 1845 'Resumé' of Italian Art and the Writing of Modern Painters II’,Ruskin Programme Seminar, Ruskin Library, University of Lancaster, 28 April 1994
• ‘Charles Fairfax Murray and the Representation of the Sienese School in the National Collection’, National Gallery History Group, National Gallery, London, 9 March 2002
• Ruskin Lecture 2008, Christ Church, Oxford; published as Charles Fairfax Murray and Duccio’s Maestà. Photography, Art History and the Market in Early Paintings in Late Nineteenth-Century Siena (Bembridge: Guild of St George, 2008)
• ‘Illocutionary Force and the Interaction of Minds: Ascriptive Illocutions’, Scuola Normale Superiore, Pisa,3 December 2010
• ‘Charles Fairfax Murray on Morellian Infallibility and Leonardo’s Virgin of the Rocks’, National Gallery History Group, National Gallery, London, 26 July 2012
• ‘Ruskin on the “Lungo l’Arno” 1840-1882’, Palazzo Blu, Pisa, 17 March 2016
• Presentation of Sarah Quill, Ruskin a Venezia. The Stones Revisited (Milano: Jaca Book, 2018), Premio Letterario La Calcina – John Ruskin – Scrivere do architettura, Hotel La Calcina, Venice, 9 December 2018
• ‘”Santa conversazione”: Jesuit Devotion and the Prehistory of a Genre’, National Gallery Research Seminar, National Gallery, London, 13 June 2019

Conference Papers (in order of delivery)

• ‘The Perception of Time in Narrative and the "Transitionary" Use of Now’; First International Conference of Literary Semantics, University of Kent, Canterbury, August 1992
• ‘Le Toscane di Ruskin’. Il Dominio di Dedalo, Workshop on John Ruskin organised by the Fondazione Ragghianti, Lucca, the Scuola Normale Superiore, Pisa and the Dipartimento di Anglistica, Università di Pisa, Lucca-Pisa, May 1993
• ‘The Use of the Definite Article in the Fiction of Walter Pater’. Walter Pater and the Culture of the Fin de Siècle, University of Kent, Canterbury, July 1994
• ‘Pater's 'Modern Painters': The MS Fragment on Corot and the French Landscape School’.Walter Pater e le forme della Modernità, Dipartimento di Letterature e Civiltà Anglo-Germaniche, Università di Venezia, 1-2 December 1994
• [Co-presenter Donata Levi] ‘"A Whole Series of the Greek Gods Old and Young": Ruskin's Diagrams from Greek Vases’. Ruskin in the 1870s, Trinity College, Oxford University, July 1996
• ‘Adrian Stokes and the “Anti-Ruskin Lesson” of British Formalism’. John Ruskin and Modernism, Università di Milano, Università del Piemonte, Vercelli, 22-24 September 1997
• ‘Giovanni Battista Cavalcaselle, John Ruskin and Charles Fairfax Murray: Interlocutori e Antagonisti’. Giovanni Battista Cavalcaselle (1819-1897): Alle Origini della Storia dell’Arte,  Verona and Legnago, 28-29 November 1997
• ‘Charles Fairfax Murray as Agent to the National Gallery, 1877-1894’.Conference on the art market in 19th century Europe and America’, European University Institute, Fiesole, May 1998
• ‘Charles Fairfax Murray and the South Kensington Museum’. La fortuna grafica e museale dell’opera d’arte. Secondo incontro di studio. I musei di arti applicate e industriali, Scuola Normale Superiore, Pisa, 27 April 1999
• ‘Ruskin studia i primitivi: i taccuini inediti del 1845’. Per Giovanni Previtali, Scuola Normale Superiore, Pisa, 6 maggio 1999
• ‘Nuove testimonianze sugli affreschi assisiati: gli acquarelli di Eduard Kaiser per la Arundel Society Il cantiere di Assisi (1870-1890)’. Restauri, rilievi, fotografie, Scuola Normale Superiore, Pisa, 23 June 1999
• ‘John Ruskin, Roberto Longhi ed il “tono cromatico”’. L’eredità italiana di John Ruskin 1900-2000/ John Ruskin’s Italian Legacy 1900-2000, Gabinetto Vieusseux & British Institute of Florence, Firenze, November 2000
• ‘Evaluation in the Early Art Criticism of Adrian Stokes. Towards a Linguistic Analysis of Discourse on Art in English’. Adrian Stokes Centenary Conference, University of Bristol, June 2002
• ‘Evaluation in Academic Discourse on Visual Art ‘. 6^th Conference of the European Society for the Study of English, Strasbourg, September 2002
• ‘Evaluation and Description in Art-Historical Discourse’. Evaluation in Academic Writing, Certosa di Pontignano (Università di Siena), June 2003
• ‘Commenting on Visual Art: the Role of Describing’. International Conference of English Historical Lingusitics (XIV convegno), Università di Bergamo, 21-26 August 2006
• ‘Commenting on Visual Art from the Seventeenth Century to the Present’.8th Conference of the European Society for the Study of English (Session: A Speech Act History of English), University of LOndon, 29 August - 2 September 2006
• ‘Comment on Visual Art as Rational Exchange.’ L’écrit sur l’art, Société des amis de l’Intertextualité, Institut du Monde Anglophone, Paris III, Sorbonne Nouvelle, Parigi, 16-17 March 2007
• ‘Figurative Language and Characterizing Works of Art’.Forms of Migration. Migration of Forms (23rd Conference of the Associazione Italiana di Anglistica, Università di Bari, 20-22 September 2007
• ‘Aspetti linguistici della ‘descrizione’ dell’opera d’arte’. L’opera d’arte nel testo. Modalità e funzioni della descrizione nella storiografia artistica tra Otto e Novecento, Università degli Studi di Udine, Dipartimento di Storia e Tutela dei Beni Culturali, 13 December 2007
• ‘Illocutionary Force and Rhetorical Structure in Writing on Visual Art in English’. Illocutionary Force, Information Structure and Subordination between Discourse and Grammar, Hogschool, Ghent, 23-24 May 2008
• ‘The Changing Role of Description in Artwriting in English, from the Eighteenth Century to the Present’. Décrire l’œuvre d’art / Describing the Artwork, Société des amis de l’Intertextualité, Institut du Monde Anglophone, Paris III, Sorbonne Nouvelle, Paris, 20-21 June 2008
• ‘After Tintoretto: Ruskin’s Venetian “Picture-Work” in 1845 and its Impact on his Art Critical Language’. Ruskin, Venice and Nineteenth-Century Cultural Travel, organised by the University of Lancaster, the Dipartimento di Studi Europei e Post-Coloniali, Ca’ Foscari, Università di Venezia and INCS (Interdisciplinary Nineteenth Century Studies) Scuola Grande di S. Rocco, Venice and Venice International University, 25-27 September 2008
• ‘Diachronic variation in the rhetorical function of describing in exhibition reviews’.CLAVIER09 – Corpus Linguistics and Language Variation, Università di Modena e Reggio Emilia, 5-7 November 2009
• ‘Dal taccuino al testo: il “Résumé” del 1845 e la scrittura di Ruskin’. Dall’occhio alla penna: il taccuino dello storico d’arte tra ‘800 e ‘900, Dipartimento di Storia e Tutela dei beni Culturali, Università di Udine, 19-20 aprile 2010
• ‘Degree-Result Constructions with So and Such’. Construction Grammar Meets Cognitive Semantics: Theoretical, Lexicogrammatical and Acquistional Perspectives, 10^th Conference of the European Society for the Study of English (session organised by Annalisa Baicchi, Università di Pavia, e Francisco Gonzálvez-Garcia, Università di Almeria, Spain) Università di Torino, 24-28 August 2010
• ‘The Articulation and Role of Evaluative Predications in the Art Exhibition Review: a Diachronic Study’. CLAVIER11 - Tracking Language Change in Specialised and Professional Genres, Università di Modena e Reggio Emilia, 24-26 November 2011
• [co-presenter Donata Levi] “Drawing is a kind of language”: il disegno nella didattica artistica di John Ruskin’. Segnare Disegnare Interpretare. Un itinerario nella storia, Accademia di San Luca, Rome, 24 February 2012
• ‘“Carpaccio’s Sayings”: Ruskin e il ciclo di Sant’Orsola’. Allestire Sant’ Orsola. Il ciclo narrativo di Vittore Carpaccio tra scuola e museo, organised by Centro Tedesco di Studi Veneziani, Istituto Svizzero di Roma and Kunsthistorisches Institut in Florenz, Max-Planck-Institut, Venezia, 17 May 2012
• ‘Language, Space and Object Identity in Writing on Visual Art’. Space, place and the discursive construction of identity (Progetto PRIN 2008), Dipartimento di Studi Letterari, Linguistici e Comparati, Università degli Studi di Napoli “L’Orientale”, Palazzo Du Mesnil, Naples, 4-6 June 2012
• ‘”An Admirable Connoisseur: Charles Fairfax Murray (1849-1919) and the Representation of the Sienese School in the National Gallery under Sir Frederic Burton’. Discovering the Italian Trecento in the 19^th Century, National Gallery, London, 1 March 2013
• ‘Adrian Stokes, “In Short” (1942)’. Adrian Durham Stokes (1902-72), Tate Gallery, London, 24 May 2013
• ‘“Thoughtful Labour”: Ruskin on the Nature of Education’. Education for Education’s Sake?, organized by the Guild of St George and The Ruskin Library  and Research Centre (Lancaster University), Toynbee Hall, London,  11 October 2014
• ‘“A Sting behind it in the Mind of the Spectator”: Hazlitt, Gusto and the Evolution of Art-Critical Language’. William Hazlitt’s Art Criticism, Tate Gallery and National Gallery, London, 28 November 2014
• [co-presenter Donata Levi] ‘“J for John Ruskin”: Line in the Art Teaching of Ruskin and Ebenezer Cooke’.Il silenzio delle immagini: teoria e processi dell'invenzione artistica / The Silence of Images. Theories and Processes of Artistic Invention, organised by the Dipartimento di Storia dell’arte e Spettacolo, Università La Sapienza di Roma; MAXXI - Museo nazionale delle arti del XXI secolo, in conjunction with the Musei Vaticani e the Kunsthistorisches Institut in Florenz – Max-Planck-Institute, MAXXI, Rome, 11-12 December 2015
• ‘Charles Fairfax Murray (1849-1919): his Relations with Public Museums and with the Dealer Thomas Agnew and Sons’. Negotiating Art, National Gallery, London, 1-2 April 2016
• ‘Un eminente archeologo’: Giacomo Boni e John Ruskin. Tradizione dell’antico. Studi su Giacomo Boni, SAET, Scuola Normale Superiore, Pisa, 9 December 2017
• ‘Charles Fairfax Murray, Herbert Percy Horne e Charles Loeser: tre casi di donazione di stranieri a Firenze tra '800 e '900’. Donare allo Stato: mecenatismo privato e raccolte pubbliche dall’Unità a oggi. Giornata di studio in ricordo di Giulio Romano Ansaldi, IMT, Lucca 10 November 2016
• ‘Charles Fairfax Murray and the National Gallery, London, under the Directorship of Frederic Burton’. Frederic Burton’s Life Defined by Art. Study Morning, National Gallery, Dublin, 13 January 2018
• ‘“The Right Person in the Right Place”: Wilhelm Bode and Charles Fairfax Murray’. Wilhelm Bode and the Art Market, Institute of Art History, University of Bern, 8-9 November 2018
• ‘An “Explosive Torpedo” for St Mark (and St George): Ruskin’s Guide to the Principal Pictures in the Academy of Fine Arts at Venice (1877), his Revised Venetian History and the Idea of the Museum’. Art for the Nation: John Ruskin, Art Education and Social Change, National Gallery, London, 20-21 September 2019
• ‘John Ruskin on Images: from Ideas of Truth to “Sacred Imagination of Things that are not”’. Ruskin and the Pre-Raphaelites: Sacre Conversazioni,Marlborough College,  Marlborough (Swindon), 21-22 September 2019
• ‘Local Divisions and General Laws: Brides and Bridge-Building in the Work of John Ruskin’. A Great Community: Ruskin’s Europe, Ca’Foscari, Venice, 7-9 October 2019
• ‘Image and Argument in the Work of John Ruskin’. Argomentare per immagini: l’attualità di John Ruskin, IMT Scuola Alti Studi, Lucca, 28 November 2019
• 'Argumentation and the "Interaction of Minds" in Text: the Case of Discourse on Art'. Argumentation, Rhetoric, Discourse: Perspectives on Persuasion, Ca' Foscari, Venice, 23-24 September 2021
• '"Intendere", "intendersi" e "inteso" nelle Vite vasariane, nel Trattato di Giovanni Paolo Lomazzo e nelle traduzioni di William Aglionby, John Haydocke e Hilaire Pader'. Mapping Ideas: Identifying, Describing, Identifying. The Conceptual Lexicon of Renaissance and Baroque Art Theory in Europe, before and after Federico Zuccari's Writings, Accademia di Belle Arti, Rome, 16 December 2022

Paul Stephen

TUCKER

Associate Professor

in the History of Art Criticism

University of Florence, Italy


Department of History, Archeology, Geography, Art and Performance (SAGAS)


Curriculum vitae

Institutional address:

Dipartimento di Storia, Archeologia, Geografia, Arte e Spettacolo

Università degli Studi di Firenze

Via G. Capponi, 9

50129 Firenze, Italy

tucker@unifi.it

Nationality:

British

Fields:

History of art criticism, art collecting and the art market, with an emphasis on 19^th century Britain and Italy; the linguistic analysis and history of art discourse

Education:

• M.Litt., English Literature, Oxford 1983 (dissertation on the fiction of Walter Pater)
• B.A., English Literature, Cambridge 1977

Employment:

• Associate Professor in Museum Studies, History of Art Criticism and the History and Theory of Restoration, Department SAGAS, University of Florence, Italy, 2020-
• Research Fellow in Museum Studies, History of Art Criticism and the History and Theory of Restoration, Department SAMERL, subsequently SAGAS, University of Florence, Italy, 2012-20
• Research Fellow in English Language Linguistics, Faculty of Economics, University of Florence, Italy, 2003-2012
• Research Fellow in English Language Linguistics, University of Urbino, Italy, 2000-2003
• Language Consultant (English) for Machine Translation Project, IBM Research Centre, Pisa, Italy, 1991-1994
• English Language Lector, Centro Linguistico Interdipartimentale, University of Pisa, Italy, 1988-1999
• English Language Lector, Scuola Normale Superiore, Pisa, Italy, 1983-1988

Occasional courses:

• Visual Arguments: John Ruskin’s Relevance Today, Scuola Alti Studi, Lucca, October-November 2019
• The Translation of Art-Historical and Art-Critical Texts, English Department, University of Pisa, Italy, 2003-2004, 2004-2005
• Vasari in Nineteenth-Century Art Literature, Scuola di Specializzazione in Beni Culturali, Art History Department, University of Pisa, Italy, Spring 1999

Fellowship:

• Tate Gallery Research Department Fellowship, London, 2012-2013 (research subject: the papers of Adrian Stokes, Tate Gallery Archive)

Research groups:

• 2006-2008-2011-2012: “Archivio informatizzato delle testimonianze di cultura artistica e letteraria in fondi manoscritti fra Ottocento e Novecento: da Cavalcaselle a Brandi” – FIRB project coordinated by Donata Levi (University of Udine); part of “Carteggi e fondi manoscritti di storici dell’arte italiani fra Otto e Novecento” – FIRB project coordinated by Paola Barocchi (Fondazione Memofonte, Florence)
• 2008: “Percezione dello spazio nella comunicazione privata e pubblica: prospettive diacroniche e sincroniche” – PRIN project coordinated by Marina Bondi (University of Modena and Reggio Emilia)
• 2005: “Parole chiave e punto di vista valutativo/percettivo nella critica d'arte, nel discorso accademico storico e nel discorso aziendale” – PRIN project coordinated by Marina Bondi (University of Modena and Reggio Emilia)
• Member of CLAVIER (The Corpus and Language Variation In English Research Group), founded by the Universities of Bergamo, Florence, Modena and Reggio Emilia and Roma La Sapienza

Conferences/workshops organized:

• Argomentare per immagini: l'attualità di John Ruskin / Visual Arguments: John Ruskin's Relevance Today, organized together with the Scuola Alri Studi IMT, Lucca, and held at Lucca on 28 November 2019
• Adrian Durham Stokes (1902-72), Tate Gallery, London, 24 May 2013
• Point of View: Description and Evaluation across Discourses, University of Florence, 27-28 April 2007
• L’eredità italiana di John Ruskin 1900-2000 / John Ruskin’s Italian Legacy 1900-2000, organized together with the Gabinetto Vieusseux, British Institute and University of Florence, and held at Florence, 15-18 November 2000

PUBLICATIONS:

Books/critical editions/lectures:

• A Connoisseur and his Clients: the Correspondence of Charles Fairfax Murray with Frederic Burton, Wilhelm Bode and Julius Meyer, 79^th Volume of the Walpole Society, 2017
• John Ruskin, Guida ai principali dipinti nell’Accademia di Belle Arti a Venezia [Guide to the Principal Pictures in the Academy of Fine Art at Venice, 1877], trans. E. Sdegno (Milano: Electa, 2014)
• John Ruskin, “Résumé” of Italian Art and Architecture (1845) (Pisa : Scuola Normale Superiore, 2003)
• [co-author Donata Levi]Ruskin didatta: il disegno tra disciplina e diletto (Venezia: Marsilio, 1997)

Lecture:

• Charles Fairfax Murray and Duccio’s Maestà. Photography, Art History and the Market in Early Paintings in Late Nineteenth-Century Siena (Bembridge: Guild of St George, 2008)

Volumes edited:

• [co-editors Susanna Avery-Quash and Janet Barnes] 'Art for the Nation: John Ruskin, Art Education and Social Change: a series of articles arising from a conference held at the National Gallery, London, 20-21  September 2019, guest edited by Susanna Avery-Quash, Janet Barnes and Paul Tucker', Journal of Art Historiography 22 (June 2020) [https://arthistoriography.wordpress.com/22-jun20/] 
• [co-editor Sara Radighieri] Point of View. Description and Evaluation across Discourses (Roma: Officina, 2009)
• [co-editor Jeanne Clegg] The Dominion of Daedalus. Papers from the Ruskin Workshop Held in Pisa and Lucca 13-14 May 1993 (St Albans: Brentham Press for the Guild of St George, 1994)

Catalogue entries and essays:

• ‘Nota alle fotografie de Gori nella Collezione Murray’. In I Macchaioli e la fotografia, ed. M. Maffioli, S. Balloni & N. Marchioni [exh. cat Florence, Museo Nazionale Alinari della Fotografia, 4 December 2008-15 February 2009] (Firenze: Fratelli Alinari, Fondazione per la Storia della Fotografia, 2008), 211
• ‘Charles Fairfax Murray and Florence / Charles Fairfax Murray e Firenze’ and entries for works by William Morris, Charles Fairfax Murray and John Ruskin. In I Giardini delle regine: il mito di Firenze nell’ambiente preraffaellita e nella cultura americana fra Ottocento e Novecento / I Giardini delle regine. Of Queens’ Gardens: the Myth of Florence in the Pre-Raphaelite Milieu and in American Culture (19th-20th Centuries) [exh. cat Florence, Galleria degli Uffizi,  6 April 2004-31 August 2004] (Livorno: Sillabe, 2004), 102-111, 171-181, 190-192
• [All entries and introductory essays to sections in] Ruskin and Tuscany [exh. cat. Accademia Italiana, London; Ruskin Museum, Sheffield and Fondazione Ragghianti, Italy; January-July 1993] (London & Sheffield: Ruskin Gallery, Collection of the Guild of St George, Sheffield & Lund Humphries, 1993)

Dictionary entry:

• §  ‘Alexis-François Rio’. In Dictionnaire critique des historiens de l’art actifs en France de la Révolution à la Première Guerre mondiale. Published online March 2009 by the Institut National de l’Histoire de l’Art, Paris [http://www.inha.fr/spip.php?rubrique347]

Textbooks:

• Modes of Description in English (Urbino: QuattroVenti, 2004)
• English and Experience. An Introduction to the Grammar of English Text for Italian University Students (Urbino: Quattroventi, 2002)

Chapters:

• 'Division, Juncture, System: Bridges and Bridge-Building in the Work of John Ruskin'. In John Ruskin’s Europe. A Collection of Cross-Cultural Essays, eds E. Sdegno, M. Frank, M. Pilutti Namer & P.-H. Fragne, Venezia: Edizioni Ca' Foscari – Digital Publishing, 2020, 181-212 [https://edizionicafoscari.unive.it/it/edizioni4/libri/978-88-6969-488-2/]
• Customer, Counsel, Associate, “Trustee”: Charles Fairfax Murray and Thomas Agnew and Sons (1886–1918)'. In Florence, Berlin and Beyond: Late Nineteenth-Century Art Markets and Their Social Networks, ed. Lynn Catterson (Brill: Leiden & Boston, 2020), 209-248
• ‘”Two Florentines”? Le donazioni italiane di Charles Fairfax Murray e Herbert Percy Horne’. In Donare allo stato. Mecenatismo privato e raccolte pubbliche dell'Unità d'Italia al XXI secolo, eds Lorenzo Casini, Emanuele Pellegrini (Bologna: Il Mulino, 2019), 67-78
• ‘“Pourquoi parler du tableau?": Art-Critical Syntax and Aesthetic Argument’. In Écrire l'art / Writing on Art, eds Anne-Pascale Bruneau-Rumsey, Anne-Florence Gillard-Estrada, Shannon Wells-Lassagne (Paris: Mare & Martin, 2015), 31-43
• ‘Language, Space and Object Identity in Writing on Visual Art’, in J. Bamford, F. Poppi & D. Mazzi (eds), Space, Place and the Discursive Construction of Identity (Berne: Peter Lang, 2014), 43-69
• ‘Justificatory Arguments in Writing on Art: Toulmin’s Model Tested on a Small Corpus of Eighteenth- and Nineteenth-Century Exhibition Reviews’. In Variation and Change in Spoken and Written Dialogue: Perspectives from Corpus Linguistics, eds J. Bamford, G. Diani & S. Cavalieri (Dialogue Analysis Series edited by Edda Weigand) (Amsterdam & Philadelphia PA: John Benjamins, 2013), 185-202
• After Tintoretto: Ruskin’s Venetian “Picture-Work” in 1845 and its Impact on his Art Critical Language. In K. Hanley, E. Sdegno (eds), Ruskin, Venice and Nineteenth-Century Cultural Travel (Venezia: Libreria Editrice Cafoscarina, 2010), 3-21
• ‘Subjectivity and Varieties of Representation’. In Threads in the Complex Fabric of Language. Linguistic and Literary Studies in Honour of Lavinia Merlini, eds M. Bertuccelli Papi, A. Bertacca  & S. Bruti (Pisa : Felici, 2008), 399-408
• [co-author D. Levi] ‘Questioni di metodo e prassi espositive: il ruolo della descrizione nell’opera di Adolfo Venturi’. In Adolfo Venturi e la Storia dell'arte oggi, ed. Mario D’Onofrio (Modena: Franco Cosimo Panini Editore, 2008), 211-218
• ‘“Inferential Muscle” and the Work of Criticism: Michael Baxandall on Adrian Stokes and Art Critical Language’. In The Coral Mind: Adrian Stokes's Engagement with Art History, Criticism, Architecture, and Psychoanalysis, ed. S. Bann (University Park, Pennsylvania: Pennsylvania State University Press, 2007), 161-188
• ‘Evaluation and Interpretation in Art-Historical Discourse’. In Academic Discourse: New Insights into Evaluation, eds G. Del Lungo Camiciotti & E. Tognini Bonelli (Bern: Peter Lang, 2004), 161-179
• ‘John Ruskin, Roberto Longhi e l‘“intonazione” del colore’. In L’eredità di John Ruskin nella cultura italiana del Novecento, ed. D. Lamberini (Firenze: Cardini, 2006), 247-269
• ‘“Reanimate Greek”: Pater and Ruskin on Botticelli’. In Walter Pater: Transparencies of Desire, eds L. Brake, L. Higgins & C. Williams (Greensboro, N. Carolina: ELT Press, 2002), 119-132
• ‘Ruskin studia i primitivi: i taccuini inediti del 1845’. In Giornate di studio in ricordo di Giovanni Previtali, ed. Francesco Cagliotti, (“Annali della Scuola Normale Superiore di Pisa [Classe di Lettere e Filosofia]”, Quaderni 1,2 [2000]), 357-373
• ‘Adrian Stokes and the "anti-Ruskin Lesson" of British Formalism’. In Ruskin and the Twentieth Century: the Modernity of Ruskin, ed. T. Cerutti (Vercelli: Edizioni Mercurio, 2000), 129-143
• [co-author D. Levi] ‘“A Line of Absolute Correctness”: Ruskin's Enlargements from Greek Vases and the Drawing Classes at Oxford’. In Ruskin and the Dawn of the Modern, ed. D. Birch (Oxford: Clarendon Press, 1999), 87-110
• ‘Giovanni Battista Cavalcaselle, John Ruskin e Charles Fairfax Murray: interlocutori e antagonisti’. In Giovanni Battista Cavalcaselle conoscitore e conservatore, ed. A.C. Tommasi (Venezia: Marsilio, 1998), 257-276
• ‘"A Whole World of Transformation": Landscape and Myth in Walter Pater's MS Fragment on Corot’. In Walter Pater (1839-1894). Le forme della modernità / The Forms of Modernity (Atti del convegno - Venezia Ca' Foscari 1 e 2 dicembre 1994), eds Elisa Bizzotto & Franco Marucci (Milano: Cisalpino, 1996), 45-80
• ‘Le Toscane di Ruskin: 1840-1882’. In The Dominion of Daedalus, eds J. Clegg & P. Tucker (St Albans: Brentham Press for the Guild of St George, 1994), 28-35
• ‘Pater as a "Moralist"’. In Pater in the 1990's, eds I. Small & L. Brake (Greensboro, N. Carolina: E.L.T. Press, 1991), 107-125

§  ‘Description and Point of View in Writing on Visual Art’. In Point of View. Description and Evaluation across Discourses, eds S. Radighieri & P. Tucker (Roma: Officina Edizioni, 2009), 51-68

Articles:

• [A letter and tribute to  James S. Dearden (1931-2021)], The Friends of Ruskin's Brantwood Newsletter (Spring 2022) https://www.brantwood.org.uk
•  ‘A ‘new clue’: Ruskin’s Guide to the Principal Pictures in the Academy of Fine Arts at Venice (1877), the history of Venetian art and the idea of the museum’, in 'Art for the Nation: John Ruskin, Art Education and Social Change: a series of articles arising from a conference held at the National Gallery, London, 20-21  September 2019, guest edited by Susanna Avery-Quash, Janet Barnes and Paul Tucker', Journal of Art Historiography 22 (June 2020) [https://arthistoriography.wordpress.com/22-jun20/]  
  
• [co-author Donata Levi] ‘J after J. Ruskin’: line in the art teaching of John Ruskin and Ebenezer Cooke’, in 'Art for the Nation: John Ruskin, Art Education and Social Change: a series of articles arising from a conference held at the National Gallery, London, 20-21  September 2019, guest edited by Susanna Avery-Quash, Janet Barnes and Paul Tucker', Journal of Art Historiography 22 (June 2020) [https://arthistoriography.wordpress.com/22-jun20/] 
• ‘Trecento «Characteristic», Trecento «Grotesque»: Frederic Burton, Charles Fairfax Murray and Early Sienese Painting in the National Gallery’, Predella, rivista semestrale di arti visive 41-42 (2017), 67-114
• ‘“Truth of Character from Truth of Feeling”: William Hazlitt, Gusto and the Linguistic History of Writing on Art’, Tate Papers 24 (2015) [https://www.tate.org.uk/research/publications/tate-papers/24/truth-of-character-from-truth-of-feeling-william-hazlitt-gusto-and-the-linguistic-history-of-writing-on-art]
• 'Eyesight, Knowledge, Argument: Charles Fairfax Murray on "Scientific" Connoisseurship', Studi di Memofonte 12 (2014), 106-143
• ‘An Unpublished Letter of Walter Pater’, Pater Newsletter (2014), 49-66
• [co-author D.Levi] '"Drawing is a kind of language": la didattica artistica in John Ruskin e nel dibattito inglese coevo', Annali di critica d'arte 10 (2014), 215-255
• ‘Roberto Longhi, John Ruskin e l‘“intonazione” del colore’, Annali di critica d’arte 2 (2006), 271-300
• ‘Evaluation in the Art-Historical Research Article’, Journal of English for Academic Purposes 2 (2003), 291-312
• ‘“Responsible Outsider”: Charles Fairfax Murray and the South Kensington Museum’, Journal of the History of Collections 14 (2002), 115-137
• [co-author G. Manieri Elia] ‘Reliquie, rappezzature, falsificazioni: vicende critiche e materiali del mosaico del duomo di Orvieto’,  Ricerche di Storia dell’Arte 73 (2001), 21-36
• ‘Alla riscoperta dell’”esegeta” Ruskin: a cento anni dalla scomparsa del celebre studioso e critico d’arte inglese’, Corriere del Ticino (15 February 2000)
• ‘The Use of the Definite Article in the Fiction of Walter Pater’, Rivista di Studi Vittoriani 2/4 (1997), 105-124
• ‘The Perception of Time in Narrative and the 'Transitionary' Use of Now’, Journal of Literary Semantics 26 (1997), 44-53
• ‘"Right Conclusions": 7 Unpublished Letters from John Ruskin to John Murray (1845-46)’, Annali d'Italianistica 16 (1996), 582-621; Bollettino del Centro Interuniversitario di Ricerca sul Viaggio in Italia (Torino), 33-34 (1996), 105-51
• [co-authorM. Gravina] ‘"John Ruskin's 1845 Résumé": un ipertesto in costruzione’, Bollettino del Centro di Ricerche Informatiche per i Beni Culturali, Scuola Normale Superiore, Pisa (1994 no. 2), 101-112
• ‘Displaced Deixis and Intersubjectivity in Narrative: Planar and Linear Modes’, Journal of Literary Semantics 22 (1993), 45-67
• [co-authorD. Levi] ‘Testimonianze visive nelle conferenze di Ruskin: i "diagrams"’, Ricerche di storia dell'arte 51 (1993), 85-101
• ‘Pater and Michelangelo, Interpreters of the Renaissance’, Annali della Scuola Normale Superiore di Pisa 17/1 (1987), 189-212
• ‘Browning, Pater and the Hellenic Ideal’, Browning Society Notes 9 (1979), 2-7
• ‘“A Summing Up of All I Have Ever Thought”: Adrian Stokes’s ‘In Short’ (1942) and his Other Writings of the Period’, Tate Papers 20 (19 November 2013) [http://www.tate.org.uk/research/publications/tate-papers/summing-all-i-have-ever-thought-adrian-stokess-short-1942-and-his]
•  ‘Nuove testimonianze sugli affreschi assisiati: Ruskin e gli acquarelli della Arundel Society’(Appendice documentaria: ‘Lettere di John Ruskin a F. W. Maynard e a Joan Severn (1873-74)’, Studi di Memofonte 7 (2011) [http://www.memofonte.it/contenuti-rivista-n.7/p.-tucker-ruskin-e-gli-acquerelli-di-eduard-kaiser-per-la-arundel-society.html]
• [co-author D.Levi] ‘“The Hand as Servant”: John Ruskin, Professor of the Manual Arts’, Predella, rivista semestrale di arti visive n. 29 (2011) Chirurgia della Creazione. Mano e arti visive, a cura di Annamaria Ducci (edizione in rete: [http://predella.arte.unipi.it/index.php?option=com_content&view=article&id=181&catid=65&Itemid=94]

Reviews:

• ‘168 anni dopo: una guida visiva alle argomentazioni estetiche’. Review of Sarah Quill, Ruskin a Venezia: The Stones Revisited, trans. L. Russo (Milano: Jaca Book, 2018), “RSF Rivisita di studi di fotografia” 9 2019, 149-150
• ‘Titling and the Individuation of Artworks’. Review of Ruth Bernard Yeazell, Picture Titles. How and Why Western Paintings Acquired their Names (Princeton and Oxford: Princeton University Press, 2015), Predella, rivista semestrale di arti visive 41-42 (2017) [http://www.predella.it/images/41-42_Misce/41-42%2011%20Tucker_A4.pdf]
• ‘Ruskin and the Daguerreotype: a “Ziggy-Zaggy” Path between Learning and Mislearning’.
• Review of Ken Jacobson & Jenny Jacobson, Carrying Off the Palaces. John Ruskin’s Lost Daguerreotypes (London: Bernard Quaritch Ltd, 2015), RSF Rivisita di studi di fotografia 1/2 2015, 122-126
• Review of John Ruskin, Opere, ed. Giovanni Leoni (Laterza,1987), L'Indice (January 1988)
• Review ofGerald Monsman, Walter Pater's Art of Autobiography (Yale University Press, 1980), Prose Studies 4 (1981)

Lectures (in order of delivery):

• ‘Ruskin's 1845 'Resumé' of Italian Art and the Writing of Modern Painters II’,Ruskin Programme Seminar, Ruskin Library, University of Lancaster, 28 April 1994
• ‘Charles Fairfax Murray and the Representation of the Sienese School in the National Collection’, National Gallery History Group, National Gallery, London, 9 March 2002
• Ruskin Lecture 2008, Christ Church, Oxford; published as Charles Fairfax Murray and Duccio’s Maestà. Photography, Art History and the Market in Early Paintings in Late Nineteenth-Century Siena (Bembridge: Guild of St George, 2008)
• ‘Illocutionary Force and the Interaction of Minds: Ascriptive Illocutions’, Scuola Normale Superiore, Pisa,3 December 2010
• ‘Charles Fairfax Murray on Morellian Infallibility and Leonardo’s Virgin of the Rocks’, National Gallery History Group, National Gallery, London, 26 July 2012
• ‘Ruskin on the “Lungo l’Arno” 1840-1882’, Palazzo Blu, Pisa, 17 March 2016
• Presentation of Sarah Quill, Ruskin a Venezia. The Stones Revisited (Milano: Jaca Book, 2018), Premio Letterario La Calcina – John Ruskin – Scrivere do architettura, Hotel La Calcina, Venice, 9 December 2018
• ‘”Santa conversazione”: Jesuit Devotion and the Prehistory of a Genre’, National Gallery Research Seminar, National Gallery, London, 13 June 2019

Conference Papers (in order of delivery)

• ‘The Perception of Time in Narrative and the "Transitionary" Use of Now’; First International Conference of Literary Semantics, University of Kent, Canterbury, August 1992
• ‘Le Toscane di Ruskin’. Il Dominio di Dedalo, Workshop on John Ruskin organised by the Fondazione Ragghianti, Lucca, the Scuola Normale Superiore, Pisa and the Dipartimento di Anglistica, Università di Pisa, Lucca-Pisa, May 1993
• ‘The Use of the Definite Article in the Fiction of Walter Pater’. Walter Pater and the Culture of the Fin de Siècle, University of Kent, Canterbury, July 1994
• ‘Pater's 'Modern Painters': The MS Fragment on Corot and the French Landscape School’.Walter Pater e le forme della Modernità, Dipartimento di Letterature e Civiltà Anglo-Germaniche, Università di Venezia, 1-2 December 1994
• [Co-presenter Donata Levi] ‘"A Whole Series of the Greek Gods Old and Young": Ruskin's Diagrams from Greek Vases’. Ruskin in the 1870s, Trinity College, Oxford University, July 1996
• ‘Adrian Stokes and the “Anti-Ruskin Lesson” of British Formalism’. John Ruskin and Modernism, Università di Milano, Università del Piemonte, Vercelli, 22-24 September 1997
• ‘Giovanni Battista Cavalcaselle, John Ruskin and Charles Fairfax Murray: Interlocutori e Antagonisti’. Giovanni Battista Cavalcaselle (1819-1897): Alle Origini della Storia dell’Arte,  Verona and Legnago, 28-29 November 1997
• ‘Charles Fairfax Murray as Agent to the National Gallery, 1877-1894’.Conference on the art market in 19th century Europe and America’, European University Institute, Fiesole, May 1998
• ‘Charles Fairfax Murray and the South Kensington Museum’. La fortuna grafica e museale dell’opera d’arte. Secondo incontro di studio. I musei di arti applicate e industriali, Scuola Normale Superiore, Pisa, 27 April 1999
• ‘Ruskin studia i primitivi: i taccuini inediti del 1845’. Per Giovanni Previtali, Scuola Normale Superiore, Pisa, 6 maggio 1999
• ‘Nuove testimonianze sugli affreschi assisiati: gli acquarelli di Eduard Kaiser per la Arundel Society Il cantiere di Assisi (1870-1890)’. Restauri, rilievi, fotografie, Scuola Normale Superiore, Pisa, 23 June 1999
• ‘John Ruskin, Roberto Longhi ed il “tono cromatico”’. L’eredità italiana di John Ruskin 1900-2000/ John Ruskin’s Italian Legacy 1900-2000, Gabinetto Vieusseux & British Institute of Florence, Firenze, November 2000
• ‘Evaluation in the Early Art Criticism of Adrian Stokes. Towards a Linguistic Analysis of Discourse on Art in English’. Adrian Stokes Centenary Conference, University of Bristol, June 2002
• ‘Evaluation in Academic Discourse on Visual Art ‘. 6^th Conference of the European Society for the Study of English, Strasbourg, September 2002
• ‘Evaluation and Description in Art-Historical Discourse’. Evaluation in Academic Writing, Certosa di Pontignano (Università di Siena), June 2003
• ‘Commenting on Visual Art: the Role of Describing’. International Conference of English Historical Lingusitics (XIV convegno), Università di Bergamo, 21-26 August 2006
• ‘Commenting on Visual Art from the Seventeenth Century to the Present’.8th Conference of the European Society for the Study of English (Session: A Speech Act History of English), University of LOndon, 29 August - 2 September 2006
• ‘Comment on Visual Art as Rational Exchange.’ L’écrit sur l’art, Société des amis de l’Intertextualité, Institut du Monde Anglophone, Paris III, Sorbonne Nouvelle, Parigi, 16-17 March 2007
• ‘Figurative Language and Characterizing Works of Art’.Forms of Migration. Migration of Forms (23rd Conference of the Associazione Italiana di Anglistica, Università di Bari, 20-22 September 2007
• ‘Aspetti linguistici della ‘descrizione’ dell’opera d’arte’. L’opera d’arte nel testo. Modalità e funzioni della descrizione nella storiografia artistica tra Otto e Novecento, Università degli Studi di Udine, Dipartimento di Storia e Tutela dei Beni Culturali, 13 December 2007
• ‘Illocutionary Force and Rhetorical Structure in Writing on Visual Art in English’. Illocutionary Force, Information Structure and Subordination between Discourse and Grammar, Hogschool, Ghent, 23-24 May 2008
• ‘The Changing Role of Description in Artwriting in English, from the Eighteenth Century to the Present’. Décrire l’œuvre d’art / Describing the Artwork, Société des amis de l’Intertextualité, Institut du Monde Anglophone, Paris III, Sorbonne Nouvelle, Paris, 20-21 June 2008
• ‘After Tintoretto: Ruskin’s Venetian “Picture-Work” in 1845 and its Impact on his Art Critical Language’. Ruskin, Venice and Nineteenth-Century Cultural Travel, organised by the University of Lancaster, the Dipartimento di Studi Europei e Post-Coloniali, Ca’ Foscari, Università di Venezia and INCS (Interdisciplinary Nineteenth Century Studies) Scuola Grande di S. Rocco, Venice and Venice International University, 25-27 September 2008
• ‘Diachronic variation in the rhetorical function of describing in exhibition reviews’.CLAVIER09 – Corpus Linguistics and Language Variation, Università di Modena e Reggio Emilia, 5-7 November 2009
• ‘Dal taccuino al testo: il “Résumé” del 1845 e la scrittura di Ruskin’. Dall’occhio alla penna: il taccuino dello storico d’arte tra ‘800 e ‘900, Dipartimento di Storia e Tutela dei beni Culturali, Università di Udine, 19-20 aprile 2010
• ‘Degree-Result Constructions with So and Such’. Construction Grammar Meets Cognitive Semantics: Theoretical, Lexicogrammatical and Acquistional Perspectives, 10^th Conference of the European Society for the Study of English (session organised by Annalisa Baicchi, Università di Pavia, e Francisco Gonzálvez-Garcia, Università di Almeria, Spain) Università di Torino, 24-28 August 2010
• ‘The Articulation and Role of Evaluative Predications in the Art Exhibition Review: a Diachronic Study’. CLAVIER11 - Tracking Language Change in Specialised and Professional Genres, Università di Modena e Reggio Emilia, 24-26 November 2011
• [co-presenter Donata Levi] “Drawing is a kind of language”: il disegno nella didattica artistica di John Ruskin’. Segnare Disegnare Interpretare. Un itinerario nella storia, Accademia di San Luca, Rome, 24 February 2012
• ‘“Carpaccio’s Sayings”: Ruskin e il ciclo di Sant’Orsola’. Allestire Sant’ Orsola. Il ciclo narrativo di Vittore Carpaccio tra scuola e museo, organised by Centro Tedesco di Studi Veneziani, Istituto Svizzero di Roma and Kunsthistorisches Institut in Florenz, Max-Planck-Institut, Venezia, 17 May 2012
• ‘Language, Space and Object Identity in Writing on Visual Art’. Space, place and the discursive construction of identity (Progetto PRIN 2008), Dipartimento di Studi Letterari, Linguistici e Comparati, Università degli Studi di Napoli “L’Orientale”, Palazzo Du Mesnil, Naples, 4-6 June 2012
• ‘”An Admirable Connoisseur: Charles Fairfax Murray (1849-1919) and the Representation of the Sienese School in the National Gallery under Sir Frederic Burton’. Discovering the Italian Trecento in the 19^th Century, National Gallery, London, 1 March 2013
• ‘Adrian Stokes, “In Short” (1942)’. Adrian Durham Stokes (1902-72), Tate Gallery, London, 24 May 2013
• ‘“Thoughtful Labour”: Ruskin on the Nature of Education’. Education for Education’s Sake?, organized by the Guild of St George and The Ruskin Library  and Research Centre (Lancaster University), Toynbee Hall, London,  11 October 2014
• ‘“A Sting behind it in the Mind of the Spectator”: Hazlitt, Gusto and the Evolution of Art-Critical Language’. William Hazlitt’s Art Criticism, Tate Gallery and National Gallery, London, 28 November 2014
• [co-presenter Donata Levi] ‘“J for John Ruskin”: Line in the Art Teaching of Ruskin and Ebenezer Cooke’.Il silenzio delle immagini: teoria e processi dell'invenzione artistica / The Silence of Images. Theories and Processes of Artistic Invention, organised by the Dipartimento di Storia dell’arte e Spettacolo, Università La Sapienza di Roma; MAXXI - Museo nazionale delle arti del XXI secolo, in conjunction with the Musei Vaticani e the Kunsthistorisches Institut in Florenz – Max-Planck-Institute, MAXXI, Rome, 11-12 December 2015
• ‘Charles Fairfax Murray (1849-1919): his Relations with Public Museums and with the Dealer Thomas Agnew and Sons’. Negotiating Art, National Gallery, London, 1-2 April 2016
• ‘Un eminente archeologo’: Giacomo Boni e John Ruskin. Tradizione dell’antico. Studi su Giacomo Boni, SAET, Scuola Normale Superiore, Pisa, 9 December 2017
• ‘Charles Fairfax Murray, Herbert Percy Horne e Charles Loeser: tre casi di donazione di stranieri a Firenze tra '800 e '900’. Donare allo Stato: mecenatismo privato e raccolte pubbliche dall’Unità a oggi. Giornata di studio in ricordo di Giulio Romano Ansaldi, IMT, Lucca 10 November 2016
• ‘Charles Fairfax Murray and the National Gallery, London, under the Directorship of Frederic Burton’. Frederic Burton’s Life Defined by Art. Study Morning, National Gallery, Dublin, 13 January 2018
• ‘“The Right Person in the Right Place”: Wilhelm Bode and Charles Fairfax Murray’. Wilhelm Bode and the Art Market, Institute of Art History, University of Bern, 8-9 November 2018
• ‘An “Explosive Torpedo” for St Mark (and St George): Ruskin’s Guide to the Principal Pictures in the Academy of Fine Arts at Venice (1877), his Revised Venetian History and the Idea of the Museum’. Art for the Nation: John Ruskin, Art Education and Social Change, National Gallery, London, 20-21 September 2019
• ‘John Ruskin on Images: from Ideas of Truth to “Sacred Imagination of Things that are not”’. Ruskin and the Pre-Raphaelites: Sacre Conversazioni,Marlborough College,  Marlborough (Swindon), 21-22 September 2019
• ‘Local Divisions and General Laws: Brides and Bridge-Building in the Work of John Ruskin’. A Great Community: Ruskin’s Europe, Ca’Foscari, Venice, 7-9 October 2019
• ‘Image and Argument in the Work of John Ruskin’. Argomentare per immagini: l’attualità di John Ruskin, IMT Scuola Alti Studi, Lucca, 28 November 2019
• 'Argumentation and the "Interaction of Minds" in Text: the Case of Discourse on Art'. Argumentation, Rhetoric, Discourse: Perspectives on Persuasion, Ca' Foscari, Venice, 23-24 September 2021