A regular contributor to BBC1's 'Fake or Fortune?' (see LINKS), Anthea Callen FRSA is Professor Emeritus of the Australian National University, and Professor Emeritus of Visual Culture, University of Nottingham, UK. After training as a painter and print-maker, she spent two years researching in Paris at the Sorbonne (British Institute), gaining a Research MA in Art History, followed by her PhD at the Courtauld Institute of Art, London. She began her academic career as an art historian at the University of Warwick and has held Chairs at De Montfort University, the University of Nottingham and the Australian National University, Canberra. She has been awarded a number of major fellowships and awards, most recently a Leverhulme Emeritus Fellowship, and has served on key international and national academic and scholarly bodies (see CV).

Anthea Callen is widely published and an internationally renowned specialist on Impressionism and the history of nineteenth-century artists’ materials and techniques. She regularly collaborates with museum conservators and curators in the study of historical materials and methods; she serves on professional expert panels and appears on television, radio and film. Author of nine books, she also publishes exhibition catalogues essays, book chapters, and articles in scholarly journals. As a feminist she has long been interested in gender, sexuality and visual representation of the human body, and her major new book Looking at Men: Art, Anatomy and the Modern Male Body, spans the visual cultures of art and medicine to examine the modern male body and masculinity, c.1780 to 1920 (Yale, 2018). Her book on landscape painting practice, The Work of Art: Plein air Painting and Artistic Identity in Nineteenth-century France (Reaktion, 2015) is distributed in the US by the University of Chicago Press. (see BOOKS)

A regular visiting professor, international and national speaker, Callen has given public lectures, plenary talks and research papers in Europe, the USA, Canada, Australia, and Japan (see APPEARANCES).