Pamela Gerrish Nunn, born in England but resident in New Zealand since 1989, was educated at Leicester University (BA Hons) and University College London (MA, PhD). Her fields of specialisation are the nineteenth and early twentieth centuries and women artists/women’s art. Within these areas, she has specialised further in Pre-Raphaelitism and the art of what is currently called Greater Britain. Along with Deborah Cherry, she put Victorian women artists on the art-historical map, through her publications, teaching and widespread public lecturing in the late 1970s and early 1980s. She has taught art history since 1976 (Bristol Polytechnic) and was active in the British women’s art movement as a feminist art historian at a time when knowledge of women’s art of the past was widely felt to be lacking, yet in ever-increasing demand.

She has curated significant exhibitions from original research in her fields of specialisation, notably Pre-Raphaelite Women Artists, Manchester City Art Galleries, 1997 (co-curated with Jan Marsh); From Victorian to Modern, Djanogly Art Gallery, Nottingham, 2006; ‘Independently Modern’, Goodison room, Tate Britain, 2009; and Eleanor Fortescue-Brickdale, a Pre-Raphaelite journey, Lady Lever Gallery, Port Sunlight, 2012. 

From 1989-2009 she taught at the University of Canterbury in Christchurch, New Zealand, and works currently as an independent scholar. Her most recent published essays focus on the late Victorian and Edwardian period, and she is currently researching the painterly connections of this period between New Zealand and the Newlyn/St Ives art colonies.

Publications include: Canvassing: recollections by six Victorian women artists (Camden Press, 1986); Victorian Women Artists (The Women’s Press, 1987); Women Artists and the Pre-Raphaelite Movement (Virago, 1989 (with Jan Marsh); Problem Pictures: women and men in Victorian painting (Scolar Press, 1995); “The ‘woman question’: Ruskin and the female artist” in Ruskin’s Artists, ed. Robert Hewison (Ashgate, 2000); “Liberty, Equality and Sorority: women’s representations of the Unification of Italy” in Unfolding the South, eds. Jane Stabler and Alison Chapman (Manchester University Press, 2003); From Victorian to Modern (Philip Wilson/Djanogly Art Gallery, 2006); "Bewitched, Bothered and Bewildered by the Beauty of Life" in William Morris and the Art of Everyday Life, ed. Wendy Parkin (Cambridge Scholars Press, 2010): 109-131; "Home from Home: some Australasian artists in London 1900-1914" in The Rise of the Modern Art Market in London 1850-1939, eds. Pamela Fletcher and Anne Helmreich (Manchester University Press, 2011); “Dorothy’s Career and other Cautionary tales” in Kyriaki Hadjiafxendi and Patricia Zakreski eds, Crafting the Woman professional in the long Nineteenth Century ( Ashgate, 2013); “A Plaited Rope: Aestheticism’s debt to Pre-Raphaelitism”, in Aesthetic Lives, eds. Bénédicte Coste and Catherine Delyfer (Rivendale Press, 2013).


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Last modified 4 March 2014