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Dr. Tomas Macsotay

Stipendiat der Alexander von Humboldt-Stiftung am ZI (Dezember 2021 - Februar 2022 | Dezember 2022 - März 2023 | August - Oktober 2023)

Gruppe/n: Ehem. Fellows


  • 2016-present | Ramón y Cajal Research Professorship, Universitat Pompeu Fabra
  • 2015-2016 | Visting Lecturer (professor visitant), Universitat Pompeu Fabra, Barcelona
  • 2012-2014 | Marie Curie Post-doctoral Fellow, Universitat Autònoma de Barcelona                       
  • 2009-2011 | Henry Moore Foundation Postdoctoral Fellow, University of Leeds, UK
  • 2002-2008 | Doctoral student and associate lecturer, University of Amsterdam
    Funded by a grant from ICH (Netherlands Institute for Culture and History), Amsterdam (ranked 1st place)

Distinctions & Awards

  • 2021 | Guest researcher, University of Derby
  • 2020 | ANECA habilitation Profesor Titular, 2020 (equivalent of Senior Lecturer or Advanced Researcher)
  • 2017 | Guest Scholar, University of Leeds, School of Fine Art, History of Art and Cultural Studies, May
  • 2017 | CAA Kress Foundation Travel Grant (New York, 15-18 February 2017), $ 500 (US)
  • 2016 | Ramón y Cajal Research Professorship, 2016-2021, “Aesthetic Nerves. Sculpture between religious and secular worlds” (RYC-2015-18371)
  • 2015 | AQU Lector, 2015 (equivalent of Lecturer)
  • 2014 | AQU Agregat, 2014 (equivalent of Senior Lecturer or advanced researcher)
  • 2012-2014 | Marie Curie Actions Post-doctoral Fellowship (Gerda Henkel Stiftung), “Modernizing Saints. Academic Reform and Religious Sculpture in Valencia (ca. 1715-1808)” € 61.000
  • 2009 | Prix Marianne Roland Michel, Institut de France, Paris, 2009 to the best doctoral dissertation on 18th-century French art, € 10.000
  • 2009-11 | Henry Moore Foundation Postdoctoral Fellowship, awarded twice: 2010-11, £ 22.000,  2009-10, £ 22.000
  • 2006 | NWO (Netherlands Organization for Scientific Research) travel grant, Amsterdam, including a one-month sojourn in the KNIR (Rome) as guest researcher, € 2.000 
  • 2002 | ICH (Netherlands Institute for Culture and History) doctoral grant, Amsterdam, 2002-2006 for the preparation of a doctoral dissertation, ranked 1st place, € 90.000+

Projects & Boards

Collective Research Projects

  • Since 2019  | (as Principal Investigator) Prehistories of the Installation: from ecclesiastical baroque to modern interiors (Universitat Pompeu Fabra, PI/IP: Tomas Macsotay) 01/01/2019–31/12/2021, PGC2018-098348-A-100 (MCIU/AEI/FEDER, UE), Amount: 32.670 EUR
  • Since 2012 | Participation in three other Spanish Ministry-Feder Projects: 01/01/2016 - 31/12/2019,  Arte, Oficio y Mercado: La condición del artista en Cataluña y Baleares durante los siglos XV al XVIII; 01/01/2014 - 31/12/2016, Mapa de los oficios de la Escultura 1775-1936. Profesión, Mercado e instituciones de Barcelona a Iberoamérica, 01/09/2012 - 01/09/2015, Coleccionismo y Gusto Artístico de la Aristocracia Catalana y Mallorquina en Época Moderna. Creación y Dispersión de un Patrimonio


Journals and Academic Series: Editorial Boards, Scientific Committees

  • 2018-present | Member of the Editorial Board of PAD. Pages on Art and Design (since 2018)
  • 2017-present | Member of the Scientific Committee of the Academic Series Singularitats, Universitat de Barcelona, Barcelona (since 2017), with Spanish quality label Cea-apQ (Calidad en Edición Académica)
  • 2018-present | Guest editor to three peer-reviewed journals: Espacio, Tiempo y Forma, Serie VII, no. 9, Dossier “The Overflowing Object. Immersive Spaces and Multi-Sensorial Strategies in Art”, 01/10/2020 to 01/09/2021; Cultural History for vol. 8, 2019, 01/09/2017 to 01/05/2019; Sculpture Journal for Issue 27.1, 2018, 01/06/2017 to 31/05/2018
  • 2015-present | External peer review (referee) for: Journal of Eighteenth-Century Studies, Journal of the Northern Renaissance, Cuadernos de Arte de Granada, Matèria. Revista internacional d'Art


Books and Guest Editing

  • Tomas Macsotay, Nausikaä El-Mecki (eds.), Toppling Things. The Visuality, Space and Affect of Monument Removal, Series Thamyris-Intersecting: Place, Sex and Race, Leiden: Brill, 2022
  • As guest editor, with Eduard Cairol), Espacio, Tiempo y Forma VII, no. 9, Dossier “The Overflowing Object. Immersive Spaces and Multi-Sensorial Strategies in Art”, 2021
  • (As guest editor, with Mina Linou), “Suffering, Visuality, and Emotion”, Themed issue Cultural History, vol. 8, no.1, 2019, pp. 1-119
  • (as editor, with Ann Compton), “National Sculpture in Cosmopolitan Paris”, Themed issue Sculpture Journal, vol. 27, no. 1 (2018), pp. 1-149

  • (as editor, with C. van der Haven and K. Vanhaesebroek), The Hurt(ful) Body. Performing and Beholding Pain, 1600-1800 (Manchester: Manchester University Press, 2017), 311 pp.

  • (as editor), Rome, Travel, and the Sculpture Capital (1770-1825) (London: Routledge, 2017), 274 pp.

  • (as editor, with Johannes Myssok), Morceau. Die bildhauerischen Aufnahmestücke europäischer Kunstakademien im 18. und 19. Jahrhundert (Vienna/Cologne/Weimar: Böhlau, 2016), 227 pp.

  • The Profession of Sculpture in the Paris Académie (Oxford; Oxford University Studies in the Enlightenment, 2014), 360 pp.
  • The Human Figure as Method. Study, Sculpture and Sculptors at the Académie royale de peinture et de sculpture (1725-1765) (Dissertation, University of Amsterdam, 2008), 573 pp.
  • Bull, Duncan, with the assistance of Tomas Macsotay, Jean-Etienne Liotard (1702-1789) Series Rijksmuseum Dossiers (Amsterdam: Waanders, 2002), 48 pp.


Research Articles (refereed journals and contributions to refereed books)

  • “Al vestigio, un cuerpo. Redención y maldición del pasado en la instalación”, in: Pol Capdeliva and Gerard Vilar (eds.), ¿Quién teme a la historia en el arte?, 2021, xxx
  • “More than Gossip and less than Monuments. Forms of Ambition in the 1790s and early 1800s Roman Bust Portrait”, in: Jane Fejfer and Kristine Kristine Bøggild Johannsen (eds.), Sculpture Workshops as space and concept: creating the portrait, New York: Routledge (accepted: 2021)
  • “La Capilla de los huérfanos de Paris de Germain Boffrand (1746-50) y la resonancia posterior de la obra de arte pseudo-escénica”, Espacio, Tiempo y Forma VII, no. 9, Dossier “The Overflowing Object. Immersive Spaces and Multi-Sensorial Strategies in Art”, 2021, pp. xxx
  • “From Sculpture to Engraving: Obscenity and Desire in Edmé Bouchardon’s Copies of Antiquities According to Preissler’s Etchings in Statuae Antiquae (1732)”, in: Word and Image Interactions, Themed Issue The reproduction of Images and Texts, ed. Philippe Kaenel and Kirsty Bell, Brill, 2021
  • Ce mouvement qui paraît l´âme de l´Univers» Le fantôme du paysage chez Claude-Henri Watelet et Nicolas le Camus de Mézières”, in : Emilie Saiello,  Laurent Châtel, Elisabeth Martichou (eds.) Ecrire et peindre le paysage en France et en Anglaterre 1750-1850 (Rennes : Presses Universitaires de Rennes, 2021), pp. 69-85
  • “Abstract Velletri Pallas. Rome, Humbert de Superville and the System of Visual Expression”, Bulletí de la Reial Acadèmia Catalana de Belles Arts de Sant Jordi, vol. 33, 2019 (2020), pp. 127-144
  • “The Thingness of the Herm. The Chimney-Top Herm of Henry Philip Hope”, in Kristine Bøggild Johannsen and Jane Fejfer (eds.), Face to Face. Thorvaldsen and Portraiture, Copehagen, Strandberg Publishing, 2020, pp. 180-81
  • “The rise and fall of the décor economy in ecclesiastical interiors in Murcia, Valencia and Catalonia”, in:  Carl Magnusson, Matthieu Lett, Léonie Marquaille (eds.), Décor et architecture (XVIIe - XVIIIe siècle) : entre union et séparation des arts,  New York: Peter Lang, 2020, pp. 231-247
  • “How Hercules lost his poise. Reason, youth and fellowship in the heroic neoclassical body”,, Metaforms: Studies in the Reception of Classical Antiquity 20 (2020), Themed issue V. Mainz, E. Stafford, The Exemplary Hercules from the Renaissance to the Enlightenment and Beyond, Leiden: Brill (2020), pp. 346-77
  • Introduction thematic issue “Suffering, Visuality, and Emotion”, Cultural History, vol. 8, 2019, no.1, pp. 1-6
  • “Sacred Forms and the Crowd’s Guilt in late Seventeenth- and Eighteenth-Century Execution Imagery”, Cultural History, vol. 8, 2019, no.1, pp. 43-69
  • “Northcote, Tatham, Deare, Flaxman: four British artists overcome Rome”, in: S. Ozvald and C. Mazzerelli (eds.), Il carteggio d'artista. Fonti, questioni, ricerche tra XVII e XIX secolo, Rome, Silvana Editoriale, 2019, pp. 114-129
  • “Sergel in Naples and Pompeii: an Artistic Station in the Dark”, ACTA/ARTIS: Estudis en Art Modern 6 (2019), 113-129 
  • Furió, Vicenç y Macsotay, Tomas, “Sobre el tema del prestigio en escultura: una mirada sociológica”, in: Cristina Rodriguez-Samaniego and Irene Gras (eds.), Modern Sculpture and the Question of Status, Serie Singularitats, Barcelona: Universitat de Barcelona, 2018, pp. 23-47
  • “Biographies of Sculptural Objects: Genre and Public Fate”, Sculpture Journal vol. 27 no. 1 (2018), pp. 17-34
  • with Ann Compton, “National Sculpture in Cosmopolitan Paris”, Sculpture Journal vol. 27 no. 1 (2018), pp. 7-15
  • “The distracted believer and the return to the first basilicae: Marqués de Ureña's Reflexiones sobre la arquitectura, ornato, y música del templo (1785)”, Architectural Histories 6 (1) 2018, pp. 1-15
  • Bodies in Peril: French Sculpture and the Return of Flemishness”, ACTA/ARTIS: Estudis en Art Modern 4 (2017), pp. 27-39
  • Introduction, in idem, The Hurt(ful) Body. Performing and Beholding Pain, 1600-1800 (Manchester: Manchester University Press, 2017), pp. 1-21
  • “Epicurean tastes: towards a French eighteenth-century criticism of the image of pain”, in: T. Macsotay, K. van der Haven en K. Vanhaesebroek, The Hurt(ful) Body. Performing and Beholding Pain, 1600-1800 (Manchester: Manchester University Press, 2017), pp. 138-169
  • Baron D’ Hancarville’s Recherches on the evolution of sculpture: submerged emblems and the collective self”, Studien aus dem Warburg-Haus, 17, themed number in: Caroline van Eck (ed.) From Idols to Museum Pieces. The Nature of Sculpture, its Historiography and Exhibition History 1640-1880, De Gruyter Verlag 2017, pp. 127-144
  • “Artistic Labour and Cosmopolitan Sociability. British Sculptors in Accounts from Late Eighteenth-century Visitors to Rome”, British Art:  Histories and Interpretations since 1700 5, Sarah Burnage and Jason Edwards (Eds.), The "British" School of Sculpture, c.1760-1832 (London: Routledge/Ashgate, 2017), pp. 101-126
  • ‘Close up and Far Away’, in: T. Macsotay (ed.), Rome, Travel, and the Sculpture Capital (1770-1820) (London: Routledge, 2017), pp. 1-27
  • “Struggle and the Memorial Relief. John Deare’s Caesar Invading Britain”, in: T. Macsotay (ed.), Rome, Travel, and the Sculpture Capital (1770-1820) (London: Routledge, 2017), pp.197-224
  • “The Freestanding Morceau de Réception and the Community of Judges”, in: Morceau. Die bildhauerischen Aufnahmestücke europäischer Kunstakademien im 18. und 19. Jahrhundert (Vienna/Cologne/Weimar: Böhlau, 2016), pp. 27-47
  • “An Eighteenth-Century Pedagogic Turn. Vleughels and the Refashioning of the French Roman Journey,” Emilie Beck Saiello, Marc Bayard, Aude Gobet (eds.), Palazzo Mancini. L’Académie de France à Rome (Rennes :Presses Universitaires de Rennes, 2016), pp. 165-182
  • “Vehicles of Disinterested Pleasure. French Painting and Non-remunerative Value in the Eighteenth century”, The History of Retailing and Consumption, B. De Munck and Dries Lyna (Ed.), Concepts of Value in European Material Culture, 1500-1900 (Ashgate, Aldershot, 2016), pp. 151-169
  • “Appropriations. Some remarks on secular and religious responses to Spanish devotional sculpture’, in Cristina Samaniego, Irene Gras and Núria Aragonès, L´Escultura a Estudi. Iniciatives i projectes (Barcelona: Singularitats, 2016), pp. 21-41
  • “El debate madrileño sobre la reforma de la enseñanza (1792-1806) y la crisis del academicismo artístico en París”, in: M. Freixa and I. Gras, Acadèmia i art. Dinàmiques, transferències i significació a l'època moderna i contemporània (Barcelona, Publicacions i Edicions de la Universitat de Barcelona, 2016), pp. 87-101
  • “Since when has sculpture looked modern?, Oxford Art Journal 39  (2016) 2, pp. 325-331
  • “Offering a Hermeneutics for Painted Landscapes. Diderot’s View of Joseph Vernet as a Sublime Painter,” in Christian Michel and Carl Magnusson (eds.), Penser l'art dans la seconde moitié du XVIIIe siècle (Paris, Académie de France à Rome-Villa Médicis, 2013), pp. 185-202
  • “Achilles dies. The ambivalent heroes of the Paris Academy”, in Jorge Egea and Cristina Rodriguez Samaniego (eds.), La imatge de l'heroi a l'escultura catalana 1800-1850 (Barcelona, MNAC, 2013), pp. 43-52 [in Catalan and English]
  • “Autonomy and Marginality in Foreign Artists’ Circles in Rome (c. 1760-1800)”, in: Frank O’Gormann and Lia Guerra (eds.), The Marginal and the Mainstream in Eighteenth Century Britain and Italy (Cambridge, Cambridge Scholars Publishing, 2013), pp. 155-71
  • “Sculpture and Pathognomics in Classical France”, Routledge Advances in Art and Visual Studies, vol. 20, James Elkins and Maria Pia di Bella (Eds.), Representations of Pain in Art and Visual Culture (London: Routledge, 2013), pp. 12-27
  • “Suffering Bodies, Sensible Artists. Vitalist Medicine and the Visualization of Corporeal Life in Diderot.” Intersections : interdisciplinary studies in early modern culture 25, 2012, Themed number H.F.J. Horstmanhoff, Helen King et al (Eds.) Blood, Sweat and Tears. The Changing Concepts of Physiology from Antiquity into Early Modern Europe, pp. 267-292
  • “Het Oudheidsbeeld van de Zuivere Contour. Humbert de Superville in Rome”, De Achttiende Eeuw. Thematic issue on Antiquity 44 (2012), pp. 161-177 [in Dutch]
  • “The tortoise and the hare: ex tempore performance and sculptural practice in eighteenth-century France,” Journal of Modern Craft vol. 3 (2010) no. 3, pp. 293-308
  • “Chronos Triumphant. Sculpture in Ancien Régime and Revolutionary France,” Oxford Art Journal vol. 33 (2010) no. 2, pp. 235-238
  • “Plaster Casts and Memory Technique: Nicolas Vleughels' Display of Cast Collections after the Antique in the French Academy in Rome (1725-1793)”, in Eckart Marchand and Rune Fredericksen (eds.), Plaster Casts: Making, collecting and displaying: from classical antiquity to the present (Transformationen der Antike) (New York: Walter de Gruyter, 2010), pp. 181-196
  • “Het kunstwerk na het tijdperk van de kunsthistorische objectiviteit. Over hoe de onderzoeker zich verhoudt tot het maakproces.” Jubileumnummer 30 Jaar Kunstlicht. Kunstgeschiedenis en Interdisciplinariteit. Kunstlicht 30 (2009) no. 3/4, 102-111 [in Dutch]

[Stand Februar 2022]