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MACSOTAY BUNT, TOMAS

TOMAS MACSOTAY BUNT
Departament d'Humanitats
Senior Lecturer
2301
ORCID ORCID

Prior to joining the Universitat Pompeu Fabra, Tomas Macsotay pursued his studies and postdoctoral work at the University of Amsterdam, the University of Leeds, Yorkshire, and the Universitat Autònoma de Barcelona. For his doctoral dissertation he earned an award from the Institut de France (Prix Marianne Roland Michel), and was a Henry Moore Foundation Postdoctoral Fellow in Sculpture Studies at Leeds. His project "Modernizing Saints. Academic Reform and Religious Sculpture in Valencia (ca. 1715-1808)" obtained a Marie Curie FP7 fellowship from the Gerda Henkel Stiftung. He has been an invited speaker, among others, at the Fondation Custodia and INHA (Paris), the École du Louvre (Paris), the Warburg Institute in Londen, the University of Antwerp's Urban Studies Centre (Belgium), and the Thorvaldsens Museum in Copenhaguen (Denmark).

He is mainly interested in understanding the evolution of sculpture after c. 1750, paying particular attention to discourses and techniques of the body. His major publications to date deal with sculpture and Ancien Régime Academies, more recently looking at the continuum between materialism, drawing and sculpting in Rome in the 1790s. His other interests include the execution site and its visual cultures in the wake of secularization and Enlightenment culture. He is currently preparing a monograph on Spanish ecclesiastical and ornate interiors examined from the theoretical notion of affective space.

n 2021, Tomas Macsotay was awarded an Alexander von Humboldt Research Fellowship for Experienced Researchers to carry out his project Outline and the Visionary Paradigm in Late Enlightenment Rome. From 2021 to 2024, he will be conducting several research stays at the Zentralinstitut für Kunstgeschichte, Ludwig Maximilian Universität, München
 
 
 

Featured publications

  • Tomas Macsotay, The Profession of Sculpture in the Paris Académie (Oxford; Oxford University Studies in the Enlightenment, 2014) 

Reviewed in:

Oxford Art Journal 38, no. 3, p. 433-440 

Sculpture journal 24:3, p. 430-  2 

 

  • Tomas Macsotay (ed.), Rome, Travel, and the Sculpture Capital (1770-1825) (London: Routledge, 2016),, 274 pages, 73  B/W ills 
Reviewed in:

Journal of Roman Archaeology, 30, 2017, pp. 939-947 (Carol C. Mattusch)  ()

 5.B. Sculpture Journal, 27.3, 2018, pp. 377-79 (Katie Hornstein) ()

           

  • Tomas Macsotay with C. van der Haven and K. Vanhaesebroek (eds.), The Hurt(ful) Body. Performing and Beholding Pain, 1600-1800 (Manchester: Manchester University Press, 2017) 

Reviewed in:

Bulletin of the Comediantes 70, Number 2, 2018, pp. 167-171 (Michael Meere) ()

British Journal for the History of Science> vol. 52, no. 4, December 2019, pp. 711-12 (Hanh Bui). (): 

 

  • Tomas Macsotay with Johannes Myssok (eds), Die bildhauerischen Aufnahmestücke europäischer

Kunstakademien im 18. und 19. Jahrhundert (Vienna/Cologne/Weimar: Böhlau, 2016) 

Reviewed in:

Sehepunkte, 17 (2017), no. 7/8 
 

UPF Scientific Output