About the Author

Matthew C. Hunter is associate professor in the Department of Art History and Communication Studies at McGill University. He is the author of Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London, also published by the University of Chicago Press.

Reviews

"Painting with Fire outlines new points of departure for historical research and encourages to investigate the various layers of the image, such as the material, the making, and the network of practices. In doing so, it offers a fresh and new perspective on cross-disciplinary encounters with chemical materials during the British Enlightenment."-- "Nuncius"

"Matthew C. Hunter's Painting with Fire: Sir Joshua Reynolds, Photography, and the Temporally Evolving Object offers a scintillating, unexpected, and original intervention in some of the most established and comfortable narratives of modernity, and what is more, it does so convincingly and even delightfully."-- "Isis"

"Painting with Fire is a startlingly original piece of work, weaving together the history of art, science, and technology to great and surprising effect. Ostensibly centered on the familiar figure of Sir Joshua Reynolds, the book leads us excitingly through a long, volatile history of scientific and creative experimentation, from the Royal Society to the early history of photography, showing the painter - and eighteenth-century art - in an entirely new light. As impressive in its mastery of archival and literary sources as it is attentive to questions of materiality, technique, and visual effect, Hunter's book opens our eyes to unexpected new possibilities for art history as a discipline."-- "HBA Book Award for Exemplary Scholarship on the Period between 1600 - 1800 judges' citation"

"Painting with Fire is a strikingly original account of the relationship between art and science--or, more particularly, between chemistry, painting, and photography--in the British Enlightenment. It reveals a series of uneasy entanglements that our own disciplinary restrictions have hitherto rendered invisible. Deeply rooted in primary source research, the book is peopled with an extraordinary array of figures familiar and unfamiliar. It is well illustrated with much previously unpublished visual material. Hunter's lively prose leads the reader from Joshua Reynolds's studios to Matthew Boulton's Birmingham manufactory, from early modern experiments with light and pigment to photography's Victorian heyday. By drawing attention to the chemical instability of the artwork and documenting the profound experimentation with pigment and light that fundamentally expanded the possibilities of both art and industry in this period, Hunter reveals the intellectual unsustainability of established accounts of eighteenth-century painting and of the emergence of photography. This is an incendiary contribution to art history."--Tim Barringer, Yale University

"Painting with Fire is scholarship of signal vision, intellectual force and literary panache. Transforming our understanding of even the most canonical of geniuses such as Joshua Reynolds, it urges with passion and penetration an original interpretation of painting as a chemical and ecological enterprise, where understandings of time itself unfold through the natural materials of artistic practice. It is bravura, breathtaking, and sometimes breathless work, powerfully confirming Hunter's voice as one of the most vibrant and virtuosic on early modern art and science today."--James Delbourgo, author of Collecting the World: Hans Sloane and the Origins of the British Museum

"Painting with Fire offers an original and transformative interpretation of the 'British Enlightenment' and challenges some of the fundamental assumptions underlying the historiographies of modern painting, print, and photography. The book is deeply, indeed voraciously, researched, both in the archives and in the secondary literature. It brings British art into a central position within Western modernism, overturns the standard interpretation of the work of Joshua Reynolds, and offers a radically new interpretation of the history of photography, presenting this thing we call a 'photograph' as one among many other kinds of experimental visual chemical operations."--Jennifer Roberts, Harvard University