{"id":1299,"date":"2020-02-12T08:59:43","date_gmt":"2020-02-12T08:59:43","guid":{"rendered":"https:\/\/finearts.hku.hk\/dev-finearts3\/?page_id=1299"},"modified":"2025-07-31T04:32:46","modified_gmt":"2025-07-31T04:32:46","slug":"greg-m-thomas","status":"publish","type":"page","link":"https:\/\/arthistory.hku.hk\/index.php\/people\/greg-m-thomas\/","title":{"rendered":"Greg M. THOMAS"},"content":{"rendered":"<p><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"background-color: rgba(255,255,255,0);background-position: center center;background-repeat: no-repeat;padding-top:0px;padding-right:0px;padding-bottom:0px;padding-left:0px;margin-bottom: 0px;margin-top: 0px;border-width: 0px 0px 0px 0px;border-color:#eae9e9;border-style:solid;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last\" style=\"margin-top:0px;margin-bottom:20px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><style type=\"text\/css\"><\/style><div class=\"fusion-title title fusion-title-1 fusion-sep-none fusion-title-text fusion-title-size-one\" style=\"margin-top:20px;margin-right:0px;margin-bottom:20px;margin-left:0px;\"><h1 class=\"title-heading-left fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:40;line-height:1.6;\"><h1>Greg M. THOMAS \u9676\u683c<\/h1><\/h1><\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-2 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"background-color: rgba(255,255,255,0);background-position: center center;background-repeat: no-repeat;padding-top:0px;padding-right:0px;padding-bottom:0px;padding-left:0px;margin-bottom: 0px;margin-top: 0px;border-width: 0px 0px 0px 0px;border-color:#eae9e9;border-style:solid;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-1 fusion_builder_column_1_6 1_6 fusion-one-sixth fusion-column-first\" style=\"width:16.666666666667%;width:calc(16.666666666667% - ( ( 4% ) * 0.16666666666667 ) );margin-right: 4%;margin-top:0px;margin-bottom:20px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><span class=\" fusion-imageframe imageframe-dropshadow imageframe-1 hover-type-none\" style=\"border-radius:50%;-webkit-box-shadow: 3px 3px 7px rgba(0,0,0,0.3);box-shadow: 3px 3px 7px rgba(0,0,0,0.3);\"><img decoding=\"async\" width=\"150\" height=\"150\" title=\"GMT 2024 web\" src=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2024\/10\/GMT-2024-web-150x150.jpg\" class=\"img-responsive wp-image-12221\"\/><\/span><div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-2 fusion_builder_column_2_3 2_3 fusion-two-third fusion-column-last\" style=\"width:66.666666666667%;width:calc(66.666666666667% - ( ( 4% ) * 0.66666666666667 ) );margin-top:0px;margin-bottom:4px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 5px 0px 0px 0px;\"><div class=\"fusion-text fusion-text-1\"><h5 class=\"fusion-responsive-typography-calculated\" data-fontsize=\"20\" data-lineheight=\"30px\">Lecturer \u8b1b\u5e2b<\/h5>\n<p>Email: <a href=\"mailto:gmthomas@hku.hk\">gmthomas@hku.hk<\/a><br \/>\nOffice: Room 10.22, Run Run Shaw Tower, Centennial Campus<\/p>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-3 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"background-color: rgba(255,255,255,0);background-position: center center;background-repeat: no-repeat;padding-top:0px;padding-right:0px;padding-bottom:0px;padding-left:0px;margin-bottom: 0px;margin-top: 0px;border-width: 0px 0px 0px 0px;border-color:#eae9e9;border-style:solid;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-3 fusion_builder_column_2_3 2_3 fusion-two-third fusion-column-first\" style=\"width:66.666666666667%;width:calc(66.666666666667% - ( ( 4% ) * 0.66666666666667 ) );margin-right: 4%;margin-top:0px;margin-bottom:20px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 10% 0px 0px;\"><div class=\"fusion-text fusion-text-2\"><p data-fontsize=\"16\" data-lineheight=\"24\"><strong>BA <em>Washington University; <\/em>MA, PhD <em>Harvard University<\/em><\/strong><\/p>\n<\/div><div class=\"fusion-text fusion-text-3\"><p>Professor Thomas teaches various aspects of European and American art and architecture from the 18th to 20th centuries, as well as the first-year survey of western art. A specialist in 19th-century French art, he has published <em>Art and Ecology in Nineteenth-Century France: The Landscapes of Th\u00e9odore Rousseau<\/em> (Princeton, 2000) and<em> Impressionist Children: Childhood, Family, and Modern Identity in French Art<\/em> (Yale, 2010). Recent research has focused on artistic interactions between Europe and China in the 18th and 19th centuries, part of a long-term study of the Chinese palace of Yuanming Yuan. He has published two major articles on Yuanming Yuan and its looting (in <em>Nineteenth-Century Art Worldwide<\/em>, Autumn 2008; and in <em>Art History<\/em>, February 2009), along with other essays on landscape painting and ecology, Impressionism, and French and British engagement with Chinese culture. He is also the assistant editor of the 13-volume <em>Wuming<\/em> (No Name) Painting Catalogue, (Hong Kong University Press, 2010), which surveys the Wuming group of painters active in Beijing in the 1970s.<\/p>\n<\/div><div class=\"fusion-tabs fusion-tabs-1 clean vertical-tabs icon-position-left\"><style type=\"text\/css\">#wrapper .fusion-tabs.fusion-tabs-1.clean .nav-tabs li a.tab-link{border-color:rgba(181,159,135,0.25);}.fusion-tabs.fusion-tabs-1 .nav-tabs li a.tab-link{background-color:rgba(255,255,255,0.1);}.fusion-tabs.fusion-tabs-1 .nav-tabs li.active a.tab-link,.fusion-tabs.fusion-tabs-1 .nav-tabs li.active a.tab-link:hover,.fusion-tabs.fusion-tabs-1 .nav-tabs li.active a.tab-link:focus{background-color:rgba(181,159,135,0.25);}.fusion-tabs.fusion-tabs-1 .nav-tabs li a:hover{background-color:rgba(181,159,135,0.25);border-top-color:rgba(181,159,135,0.25);}.fusion-tabs.fusion-tabs-1 .tab-pane{background-color:rgba(181,159,135,0.25);}.fusion-tabs.fusion-tabs-1 .nav,.fusion-tabs.fusion-tabs-1 .nav-tabs,.fusion-tabs.fusion-tabs-1 .tab-content .tab-pane{border-color:rgba(181,159,135,0.25);}<\/style><div class=\"nav\"><ul class=\"nav-tabs\" role=\"tablist\"><li class=\"active\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-632ed2f2e4e234c9711\" aria-selected=\"true\" id=\"fusion-tab-areasofexpertise\" href=\"#tab-632ed2f2e4e234c9711\"><h4 class=\"fusion-tab-heading\"><i class=\"fontawesome-icon fa-star fas\" aria-hidden=\"true\" style=\"font-size:22px;\"><\/i>Areas of Expertise<\/h4><\/a><\/li><li><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-6a63c049abd6825fd54\" aria-selected=\"false\" tabindex=\"-1\" id=\"fusion-tab-currentresearchinterest\" href=\"#tab-6a63c049abd6825fd54\"><h4 class=\"fusion-tab-heading\"><i class=\"fontawesome-icon fa-keyboard fas\" aria-hidden=\"true\" style=\"font-size:22px;\"><\/i>Current Research Interest<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-content\"><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs\"><li class=\"active\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-632ed2f2e4e234c9711\" aria-selected=\"true\" id=\"mobile-fusion-tab-areasofexpertise\" href=\"#tab-632ed2f2e4e234c9711\"><h4 class=\"fusion-tab-heading\"><i class=\"fontawesome-icon fa-star fas\" aria-hidden=\"true\" style=\"font-size:22px;\"><\/i>Areas of Expertise<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix in active\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-areasofexpertise\" id=\"tab-632ed2f2e4e234c9711\">\n<p><strong>18th and 19th centuries Western art and architecture<\/strong><\/p>\n<\/div><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs\"><li><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-6a63c049abd6825fd54\" aria-selected=\"false\" tabindex=\"-1\" id=\"mobile-fusion-tab-currentresearchinterest\" href=\"#tab-6a63c049abd6825fd54\"><h4 class=\"fusion-tab-heading\"><i class=\"fontawesome-icon fa-keyboard fas\" aria-hidden=\"true\" style=\"font-size:22px;\"><\/i>Current Research Interest<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-currentresearchinterest\" id=\"tab-6a63c049abd6825fd54\">\n<p><strong>Artistic interactions between Europe and China in the 18th and 19th centuries<\/strong><\/p>\n<\/div><\/div><\/div><div class=\"fusion-text fusion-text-4\"><h3>Selected Publications<\/h3>\n<p>\u201cYuanmingyuan on Display: Ornamental Aesthetics at the Mus\u00e9e Chinois,\u201d in <em>Collecting and Displaying China\u2019s \u2018Summer Palace\u2019 in the West: The Yuanmingyuan in Britain and France<\/em>, ed. Louise Tythacott, 149-167. New York and London: Routledge, 2018.<\/p>\n<p>\u201cChinoiserie and Intercultural Dialogue at Brighton Pavilion,\u201d in <em>Qing Encounters: Artistic Exchanges between China and the West<\/em>, ed. Petra ten-Doesschate Chu and Ning Ding, 232-247. Los Angeles: Getty Research Institute, 2015.<\/p>\n<p><em>Impressionist Children: Childhood, Family, and Modern Identity in French Art. <\/em>New Haven and London: Yale University Press, 2010.<\/p>\n<p>\u201cYuanming Yuan\/Versailles: Intercultural Interactions between Chinese and European Palace Cultures,\u201d <em>Art History<\/em> 32, no. 1 (February 2009), 115-143.<\/p>\n<p><em>Art and Ecology in Nineteenth-Century France: The Landscapes of Th\u00e9odore Rousseau. <\/em>Princeton: Princeton University Press, 2000.<\/p>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-4 fusion_builder_column_1_3 1_3 fusion-one-third fusion-column-last\" style=\"width:33.333333333333%;width:calc(33.333333333333% - ( ( 4% ) * 0.33333333333333 ) );margin-top:0px;margin-bottom:20px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><div class=\"fusion-text fusion-text-5\"><h3>Current Courses<\/h3>\n<p><strong><a href=\"https:\/\/arthistory.hku.hk\/index.php\/academic-programmes\/undergraduate\/courses\/arth1001\/\">ARTH1001<\/a><\/strong>\u00a0Introduction to Western art history<\/p>\n<p><strong><a href=\"https:\/\/arthistory.hku.hk\/index.php\/academic-programmes\/undergraduate\/courses\/arth2026\/\">ARTH2026<\/a>\u00a0<\/strong>The age of revolution: Art in Europe, 1750-1840<\/p>\n<p><a href=\"https:\/\/arthistory.hku.hk\/index.php\/academic-programmes\/undergraduate\/courses\/arth2027\/\"><strong>ARTH2027<\/strong>\u00a0<\/a>The formation of modernity: Art in Europe, 1840-1890<\/p>\n<p><strong><a href=\"https:\/\/arthistory.hku.hk\/index.php\/academic-programmes\/undergraduate\/courses\/arth2031\/\">ARTH2031<\/a><\/strong> Modern Western architecture<\/p>\n<p><a href=\"https:\/\/arthistory.hku.hk\/index.php\/academic-programmes\/master-of-arts-in-art-history\/ma-courses\/arth7012\/\"><strong>ARTH7012<\/strong><\/a> Fundamentals of Art History I: Issues in Western Art<\/p>\n<p><a href=\"https:\/\/commoncore.hku.hk\/cchu9091\/\"><strong>CCHU9091<\/strong><\/a> Art and Modernity<\/p>\n<h3>Past Courses<\/h3>\n<p><a href=\"https:\/\/arthistory.hku.hk\/index.php\/academic-programmes\/undergraduate\/courses\/arth1006\/\"><strong>ARTH1006<\/strong> <\/a>Art and Society<\/p>\n<p><strong><a href=\"https:\/\/arthistory.hku.hk\/index.php\/academic-programmes\/undergraduate\/courses\/arth3012\/\">ARTH3012<\/a><\/strong>\u00a0Cross-cultural interactions in the 19th century<\/p>\n<\/div><div class=\"fusion-sep-clear\"><\/div><div class=\"fusion-separator fusion-full-width-sep\" style=\"margin-left: auto;margin-right: auto;margin-top:30px;margin-bottom:30px;width:100%;\"><div class=\"fusion-separator-border sep-single\" style=\"border-color:rgba(181,159,135,0.25);border-top-width:1px;\"><\/div><\/div><div class=\"fusion-sep-clear\"><\/div><div class=\"fusion-text fusion-text-6\"><h5>PROFILE @ HKU Library<\/h5>\n<p><a href=\"http:\/\/hub.hku.hk\/cris\/rp\/rp01185\" target=\"_blank\" rel=\"noopener noreferrer\">HKU Scholars Hub research page<\/a><\/p>\n<\/div><div class=\"fusion-sep-clear\"><\/div><div class=\"fusion-separator fusion-full-width-sep\" style=\"margin-left: auto;margin-right: auto;margin-top:30px;margin-bottom:30px;width:100%;\"><div class=\"fusion-separator-border sep-single\" style=\"border-color:rgba(181,159,135,0.25);border-top-width:1px;\"><\/div><\/div><div class=\"fusion-sep-clear\"><\/div><div class=\"fusion-text fusion-text-7\"><h5>Reaching beyond HKU<\/h5>\n<h6>Greg M. Thomas at the Asia Society &#8211; <a href=\"https:\/\/asiasociety.org\/hong-kong\/events\/catholic-realism-qing-court-qianlongs-jesuit-painters\" target=\"_blank\" rel=\"noopener noreferrer\">Catholic Realism in the Qing Court: Qianlong&#8217;s Jesuit Painters<\/a><\/h6>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":113,"menu_order":9,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1299","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/pages\/1299","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/comments?post=1299"}],"version-history":[{"count":39,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/pages\/1299\/revisions"}],"predecessor-version":[{"id":12720,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/pages\/1299\/revisions\/12720"}],"up":[{"embeddable":true,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/pages\/113"}],"wp:attachment":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/media?parent=1299"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}