Michael Hatt

 ( Academics Of The University Of Warwick ) 

He is the author with Charlotte Klonk of Art History: A Critical Introduction to Its Methods (2006), and editor with Morna O'Neill of The Edwardian Sense: Art, Design, and Performance in Britain, 1901–1910 (2010).

He was a co-curator with Jason Edwards and Martina Droth, of , an exhibition at the Yale Center for British Art in 2014 that transferred to Tate Britain in 2015.Shirland, J., (2016). "Review of ‘Sculpture Victorious: Art in an Age of Invention, 1837–1901’ at the Yale Center for British Art, 11 September to 30 November 2014." 19: Interdisciplinary Studies in the Long Nineteenth Century. 2016 (22). The exhibition was the first to examine the creation and viewing of British sculpture of the Victorian age Sculpture Victorious: Art in an Age of Invention, 1837–1901. Yale Center for British Art. Retrieved 27 October 2019. and was the result of new ideas that the curators had developed over a number of years about Victorian sculpture."Ferrari reviews Sculpture Victorious: Art in an Age of Invention, 1837-1901", Nineteenth-Century Art Worldwide, Vol. 14, No. 1 (Spring 2015). Previews First Look: ‘Sculpture Victorious: Art in an Age of Invention’ at the Yale Center for British Art, Interview with Martina Droth, Apollo, 6 September 2014. Retrieved 27 October 2019. In a review of the exhibition for 19: Interdisciplinary Studies in the Long Nineteenth Century, Clare Walker Gore praised Hatt and Edwards for not pandering to modern taste in sculpture by including only those works that modern critics approve of, "choosing instead to showcase a broad range of works, ranging from those likely to charm modern viewers to those likely to appal, and often placing them side by side." Review of ‘Sculpture Victorious: Art in an Age of Invention, 1837–1901’ at Tate Britain, 25 February to 25 May 2015. Clare Walker Gore, 19: Interdisciplinary Studies in the Long Nineteenth Century, 2016 (22). Philip Ward-Jackson in Sculpture Journal, however, criticised the curator's selection of objects and accompanying catalogue which he felt had a lack of coherence due to being jointly written. Review: Sculpture Victorious. Art in an Age of Invention, 1837-1901. Philip Ward-Jackson, Sculpture Journal, Vol. 25, No. 2 (1 May 2016).

Hatt is professor of the history of art at the University of Warwick where he specialises in nineteenth-century British and American art, focussing on gender, sexuality, and visual racism. He is also interested in Danish art and the history of art history.

• Art History: A Critical Introduction to Its Methods. Manchester University Press, Manchester, 2006. (With Charlotte Klonk)Review of Art History:
• Britain in the World: Highlights from the Yale Center for British Art in Honor of Amy Meyers. Yale University Press, 2019. (With Martina Droth & Nathan Flis)

• The Edwardian Sense: Art, Design, and Performance in Britain, 1901–1910. Yale Center for British Art, 2010. (Edited with Morna O'Neill)Reviews of The Edwardian Sense:

• "Thoughts and Things: Sculpture and the Victorian Nude" in Alison Smith (Ed.) (2002) Exposed: The Victorian Nude. New York: Watson-Guptill. pp. 36–49.
• "Uranians and Imperialists", in eds. Timothy Barringer, Douglas Fordham, and Geoffrey Quilley, Art and the British Empire, Manchester University Press, 2007.
• "Space, Surface, Self: Homosexuality and the Aesthetic Interior", Visual Culture in Britain, Vol. 8, No. 1, Summer 2007, pp. 105–128.
• "A Great Sight: Henry Scott Tuke and His Models", in eds. Jane Desmarais, Martin Postle, and William Vaughan, Models and Supermodels: The Artist's Model in Britain, Manchester University Press, 2006, pp. 89–104.
• "Near and Far: Hamo Thornycroft's Mower and the Homoerotics of Labour", Art History, Vol. 26, No. 1, 2003, pp. 26–55.

• Michael Hatt – England arise! Carpenter, Ashbee and the Visual Culture of Song in Late-Nineteenth-Century England.