Dr Caroline Good

Postdoctoral Researcher


Research Interests

My post-doctoral research examines visual records of carnivores, in-particular big cats, from different cultures and historical periods. The intention is to uncover the multifaceted, anthropomorphic attention directed towards certain species, simultaneously revealing cultural and geographical similarities and differences in perspective and perception. Centring on ancient Rome, 252 B.C. – 300 A.D.; early Mughal India, 1526-1707; and Great Britain, 1750-1850, these case studies present both an extensive cultural record as well as social pastimes encompassing wild animals as forms of entertainment. During these periods a variety of Felidae were encountered as participants in ostentatious amphitheatre games, as the prized trophies of royal hunts, and as exotic spectacles in menageries and exhibitions. In considering the simultaneous manner in which certain species were viewed, experienced, and adopted into cultural practices, the iconography, symbolic function, and ideological narratives of these animals, and their persistent recurrence in cultural tradition and practice, can be evidenced and revealed.


Funded by the Arts and Humanities Research Council, my earlier doctoral research formed part of ‘Court, Country, City: British Art, 1660-1735’, a major collaborative research project between the University of York and Tate Britain. My thesis examines how the development of a national body of art theory shaped English visual culture, analysing the dialogue between art writing and practice in a period which saw the birth of a self-styled English school of art theory and history. These were the decades following the Restoration of Charles II, when the political, religious and bureaucratic transformations that established the modern British state were effected. Focusing on the little studied written accounts of English art that were produced in these years, my research investigates the contexts of their production, their qualities as texts, and their authority as interventions in a rapidly transforming cultural scene. As part of the project I also collaborated on an exhibition which took its title - Dead Standing Things: still life 1660-1740 - from my research on the literature of the period, and ran from 31 May–30 September 2012 at Tate Britain. I also contributed towards an extensive new online database of primary sources - The Art World in Britain 1660–1735 - that provides a research tool for the study of the arts in late 17th and early 18th century Britain.

As well as being a member of the Wildlife Conservation Research Unit (WildCRU) I am a member of the British Art Research School (BARS), and a 2012 Visiting Scholar at the Yale Center for British Art.



Email: caroline.good@zoo.ox.ac.uk

Selected Publications

  • ·      ‘A Royal Subject, William Sanderson’s guide to paintings on the eve of the Restoration’ in Court, Country, City: British Art, 1660 – 1740 eds. Mark Hallett, Martin Myrone and Nigel Llewellyn (Yale University Press, 2016). 

    ·      ‘‘An Epitome of Painting’: Edward Lutrell’s unpublished manuscript’ Making Art Picturing Practice c.1700-1900 – (Yale Center for British Art and University of York, Forthcoming).

    ·      ‘Constructing the ‘English school’, Contested Narratives of Nation in the Writing of Richard Graham and Bainbrigg Buckeridge’ in History Writing in Britain 1689-1830: Vision of History eds. Fiona Price and Ben Dew (Palgrave, 2014). 

    ·      From ‘dead-standing-things’ to ‘still life’: defining a new genre in British art Booklet essay to accompany Tate Britain still life display ‘Dead Standing Things’ with an extended version published online (Tate Publishing, 2012).