| Kathryn Brown | |
| Honorific Suffix: | FHEA |
| Fields: | 19th-century and 20th-century French art |
| Education: | Balliol College, Oxford (PhD), Birkbeck, University of London (PhD) |
| Thesis1 Title: | Baudelaire and the staging of absence: a study of the limits of poetry in Les Fleurs du Mal and Le Spleen de Paris |
| Thesis2 Title: | Reading and a space for the imagination: the woman reader in French painting 1860-1890 |
| Thesis1 Url: | https://ethos.bl.uk/OrderDetails.do?did=5&uin=uk.bl.ethos.284280 |
| Thesis2 Url: | https://ethos.bl.uk/OrderDetails.do?did=2&uin=uk.bl.ethos.444360 |
| Thesis1 Year: | 1994 |
| Thesis2 Year: | 2007 |
| Doctoral Advisors: | Malcolm Bowie |
| Known For: | works on Degas, Matisse and Tzara |
| Spouse: | Alan Thomas |
| Partners: | )--> |
Kathryn Jane Brown is a British art historian and Lecturer in Art History and Visual Culture at Loughborough University.
Educated at Seymour College, Adelaide, and the University of Adelaide, South Australia, Brown was awarded a Rhodes Scholarship. As a Rhodes Scholar, she completed a PhD (D.Phil) at Balliol College, Oxford under the supervision of Malcolm Bowie. Brown then became a private equity lawyer in the City of London. Trained at Slaughter and May, Brown worked as an associate successively at Slaughter and May and then became an associate, and later Counsel, in the London office of US law firm Milbank, Tweed, Hadley and McCloy. She then became a partner of the US law firm Paul Hastings, LLP. Following the completion of a second PhD at the University of London Brown returned to academia as a postdoctoral researcher at the University of British Columbia. She was subsequently appointed to a Lectureship in Art History at Tilburg University before moving to Loughborough. Brown is a Fellow of the Higher Education Academy. She is best known for her works on 19th-century and 20th-century French art, modernism, artists’ books, museology, and the art market with a particular focus on the works of Degas, Matisse and Tzara.[1] [2] [3] [4]