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Paul Duro

  • Professor, Art History/Visual and Cultural Studies

PhD, History and Theory of Art, University of Essex, 1984

519 Morey Hall
(585) 275-9262

Graduate Courses Taught

  • AHST 450:  Age of Baroque
  • AHST 506:  The Sublime
  • AHST 507:  Rhetoric of the Frame
  • AHST 508:  Mimesis: Theory and Practice
  • ENGL 550:  Aesthetics

Undergraduate Courses Taught

  • AHST 101:  Introduction to Art and Visual Culture
  • AHST 217:  Art, Science, and Visual Culture
  • AHST 229:  Art in Europe 1750-1830
  • AHST 250:  Age of Baroque
  • AHST 306:  The Sublime

Selected Publications


  • The Academy and the Limits of Painting in Seventeenth-Century France, ‘Cambridge Studies in New Art History and Criticism,’ 300pp. + 80 illustrations, Cambridge University Press, 1997.
  • The Rhetoric of the Frame: Essays on the Boundaries of the Artwork, edited with an introduction and contributing essay, ‘Cambridge Studies in New Art History and Criticism,’ 322pp. + 68 illustrations, Cambridge University Press, hardback and soft cover, 1996.

Articles in Journals and Anthologies

  • ‘A Disturbance of Memory: Travel, Recollection, and the Experience of Place,’ in Anne Teresa Demo and Brad Vivian (eds.), Rhetoric, Remembrance, and Visual Form: Sighting Memory (Routledge, 2012), 49-66
  • ‘Observations on the Burkean Sublime,’ Word and Image (forthcoming 2012/early 2013).
  • ‘Great and Noble Ideas of the Moral Kind: Joseph Wright of Derby and the Scientific Sublime,’ Art History, 33/4 (2010), 660-679.
  • ‘Imitation and Authority: The Creation of the Academic Canon in French Art, 1648-1870,’ in Anna Brzyski (ed.), Partisan Canons (Duke University Press, 2007), 95-113.
  • ‘Giving Up On History: The Hierarchy of Genres in Early Nineteenth-Century French Painting,’ in About Stephen Bann (London: Blackwell, 2006), 117-39.


  • John Bonehill and Geoff Quilley (eds.), Conflicting Visions: War and Visual Culture in Britain and France 1700-1830 (Ashgate, 2005), and Nora M. Heimann, Joan of Arc in French Art and Culture (1700-1855). From Satire to Sanctity (Ashgate, 2005), in Eighteenth-Century Current Bibliography, nos. 31 & 32, 2005/2006 (2009).
  • Thomas Puttfarken, Titian and Tragic Painting, in Art Bulletin (December, 2006), vol. 88, no. 4, 777-9.
  • Paul Taylor and François Quiviger (eds), Pictorial Composition from Medieval to Modern Art, and Thomas Puttfarken, The Discovery of Pictorial Composition, in Oxford Art Journal, 2003, vol. 26, no. 1, 153-6.

Conference Papers

  • ‘Diderot and the Paradox of History Painting,’ Association of Art Historians Annual Conference, Reading (U.K.), April 2013.
  • Keynote Speaker, ‘Patterns of Attention: Looking for Meaning in the Visual Arts,’ Art History Association, SUNY, Geneseo, NY, April, 2011.
  • Convener and co-chair, ‘Imitation, Copy Reproduction, Replication, Repetition, and Appropriation,’ two panels, College Art Association Annual Conference, NYC, 2011.

Selected Awards/Grants

  • Bridging Fellow, Department of English, University of Rochester, Fall 2008. Summer Fellow, Clark Art Institute, Williamstown, Mass, 2002.
  • Visiting Fellow, Humanities Research Centre, Australian National University, 1998-99.
  • Getty Summer Institute, University of Rochester, NY, 1998.
  • Faculty Research Grant Scheme, Australian National University, 1996-99.


  • Association of Art Historians (U.K.)
  • College Art Association (USA)
  • Reader, Art History, 2010, 2011, 2012
  • Editorial Board, Art Bulletin, 2007-11; chair 2010-11
  • Advisory Board, InVisible Culture, University of Rochester

Current Projects

  • Theorizing Imitation in a Global Context, an anthology of essays edited with introduction; forthcoming from Blackwell Publishing, approx. 208 pages, 2014-15