T. J. Clark (art historian)
| T. J. Clark | |
|---|---|
| Born | Timothy James Clark 12 April 1943 Bristol, England |
| Occupation | Art historian, writer |
| Language | English |
| Nationality | British |
| Notable works | The Painting of Modern Life: Paris in the Art of Manet and his Followers. |
| Spouse | Anne Wagner |
Timothy James "T.J." Clark (born on 12 April 1943 in Bristol, England) is a British art historian and writer. He taught art history in a number of universities in England and the United States, including Harvard and the University of California, Berkeley. He has been influential in developing the field of art history, examining modern paintings as an articulation of the social and political conditions of modern life. His orientation is distinctly leftist, and he has often referred to himself as a Marxist.
Clark attended Bristol Grammar School. He completed his undergraduate studies at St John's College, Cambridge, he obtained a first-class honours degree in 1964. He received his PhD in art history from the Courtauld Institute of Art, University of London in 1973. He lectured at the University of Essex 1967–69 and then at Camberwell College of Arts as a senior lecturer, 1970–74. During this time he was also a member of the British Section of the Situationist International, from which he was expelled along with the other members of the English section. He was also involved in the group King Mob.
In 1973 he published two books based on his PhD dissertation: The Absolute Bourgeois: Artists and Politics in France, 1848–1851 and Image of the People: Gustave Courbet and the Second French Republic, 1848–1851. He taught at the University of California, Los Angeles in 1974–76. In 1976, he became a founding member of the Caucus for Marxism and Art of the College Art Association.
Clark returned to Britain in 1976 when he was appointed Professor and Head of the Department of Fine Art at the University of Leeds. In 1980 Clark joined the Department of Fine Arts at Harvard University, which angered some of the more conservative, connoisseurship-oriented faculty members, especially the Renaissance art historian Sydney Freedberg, with whom he had a public feud.
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