[1] She participated in the adoption of the 'historical standpoint' method of research, a shift in art criticism that emerged in the early twentieth century.
She was a student of Giovanni Morelli and his methods of connoisseurship, which involved assembling subtle clues and recognition of personal technique, the artist's 'hand', to determine a work's provenance and creators.
[2] Ffoulkes' own techniques involved the investigation of historical documentation, which came to be used by many modern art historians in support of their conclusions.
[4] Ffoulkes' works include contributions to the Encyclopædia Britannica, instruction on scientific methodologies for analysis of artworks, the first major study of Foppa, and contributions to the journals Repertorium für Kunstwissenschaft, Rassegna d’arte, The Burlington Magazine, and The Magazine of Art.
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