Professor Susie Nash
(BA Reading 1986; PhD Reading 1993)
The Courtauld Institute of Art
London WC2R 0RN
+44 (0)20 7848 2662
Susie Nash has taught at The Courtauld Institute of Art since 1993 being appointed a senior lecturer in 2003 and professor in 2010.
Having begun her research career specializing in illuminated manuscripts of the fifteenth century, Susie Nash has subsequently worked and published on late medieval and early renaissance panel paintings, textiles, sculpture and metalwork from across northern Europe, including Spain. Over the last 10 years she has been preparing and writing an in-depth survey of the period, which was published by Oxford University Press in 2008, entitled Northern Renaissance Art. She is interested in how art was made, used and viewed, combining evidence from primary sources (such as inventories and payment accounts) with the physical and technical examination of the work itself. Current research projects include sculptural processes and practices, especially polychromy; art produced for the courts of France c. 1400 especially the work of the sculptor Claus Sluter and the patronage of Philip the Bold; the Early Netherlandish painter the Master of Flémalle (Robert Campin?); and the cost, supply of and trade in artists materials, notably painters pigments.
Susie Nash’s recent work on the ‘Well of Moses’ gave rise to a international symposium on this canonical monument held in Dijon in 2008, and has led her into research on Carthusian art and spirituality, the use of indulgences, and the deployment and meaning of portraits of sacred identitification. She is currently preparing a book length study on this monument.
OTHER COURTAULD BASED ACTIVITIES AND ACTIVITIES OUTSIDE THE INSTITUTE
Staff and Research fellows from the Medieval and Renaissance Section and the Conservation department at the Unfolding the Netherlandish Diptych exhibition in Antwerp in 2007 Susie Nash is currently Head of the Renaissance Section and Head of the Diploma programme. She has previously been Head of the BA and Diploma programme (2005-7), and has served on the Research committee of the Institute. She is a trustee of the Caroline Villers Research Fellowship, which promotes research in the field of Technical Art History, and on the committee appointing the Bob McCarthy post doctoral fellow , which is dedicated to furthering the image collections of the Conway library and beginning their digitization. She is a founder member of the research Centre for Illuminated manuscripts and the Sculptural Processes Study Group. She was also founder, in 1996, of The Courtauld Summer School, and its director for several years.
In both her teaching and research Susie Nash works in close association with colleagues in the medieval department, notably Joanna Cannon , John Lowden, and Paul Crossley, with whom she collaborates on courses, leads study and research trips, and has co-supervised research students; she also works closely with the conservation department and The Courtauld Gallery staff.
Susie Nash is active nationally and internationally as an examiner of doctoral dissertations and as a peer reviewer; she is on the editorial board of the Journal of the Warburg and Courtauld Institute; she is a European Research Council referee for funding proposals in the medieval and Renaissance field, and a member of ICOM; she has contributed to broadcasts on Radio 4 (front Row), to an OU programme in their new Renaissance MA course and to the BBC TV programmes The private Life of a Christmas Masterpiece, on Jan van Eyck’s Washington Annunciation and The Private Life of an Easter Masterpiece, Rogier van der Weyden’s Descent from the Cross (BBC 2 2010).
Courses Taught in 2010-11
- MA Art in the Burgundian Netherlands c. 1380-1520
- BA 3 Piety, Patronage and Prestige. Arts at the Courts of France c. 1350-1420
- BA 2 Jan van Eyck: problems and perspectives
- BA 1 Foundations: Renaissance art 1380-1520
PH.D.THESES SUPERVISED TO COMPLETION
- ‘The Fust Master: Illuminator of the First Mainz Presses’ (2010)
- ‘Painted Chapels and Oratories in the Households of Fifteenth Century France’ (2009)
- ‘Piety and Purgatory, Wall mounted memorials from the Southern Netherlands’ (2006)
- ‘Early Engravers and their Public. The Master of the Berlin Passion and Manuscripts from Convents in the Rhine-Mass region (2002)
- ‘”More than Woven Pictures”, the Reappearance of Rogier van der Weyden’s Designs in Tapestries’ (2002)
- "'Ungs très petiz tableaux à pignon, qui cloent et ouvrent, esmaillez dehors et dedens': Imagery and Function of Small-Scale, Folding, Enamelled Objects in 14th Century Europe." (2002) Co-Supervisor with Dr. Joanna Cannon
- ‘A woman like any other? Devotion to the Virgin in Nuremberg, Augsburg and Cologne 1500-1600 (2001), Co-Supervisor with Susan Foister (NG London) and Lyndal Roper (QMW)
PHD THESES CURRENTLY SUPERVISED
- Mother of Pearl Carving In Europe c. 1350-1500
- The Tree of Jesse in Northern Europe c. 1400-1550
- The taste for Netherlandish art at the Courts of Spain, from Isabella of Castile to Philip II
- Patrons and painters in Castile c. 1450-1520
Accounts of the Chartreuse de Champmol, Dijon Archives Cote d’or, entry for torches and pigments paid for in 1398
Claus Sluter, Philip the Bold and the Great Cross. Sculptural practice, and patronage around 1400 (provisional title). Monograph expanding the findings of three articles published in 2005, 2006 and 2008 on the Well of Moses (see below), and reassessing other works by Claus Sluter at the Chartreuse de Champmol in Dijon.
The Seilern Triptych, the Master of Flémalle and Robert Campin, Paul Holberton Publishing, publication date 2011end of 2009. This book comes out of research begun with the late Caroline Villers in 2004 and will present a full technical investigation of this triptych along with a reassessment of its painter and his relationship with the works attributed to the Master of Flémalle, whose identity with the painter Robert Campin remains a subject of dispute.
Trade in Artists’ Materials. Markets and Commerce in Europe to 1700, co- editor with Jo Kirby and Joanna Cannon;, Archetype Publications (London 2010). This book publishes the papers given at a symposium held jointly at The Courtauld and the National Gallery in 2005, instigated by the late Caroline Villers. Added to these papers are many other contributions not presented at that time, providing coverage of a wide geographic area and with a very diverse range of documentary and technical evidence, with contributions by scientists, conservators, economic historians and art historians.
The article by Susie Nash ‘‘Pour couleurs et autres choses prise de lui …’: The Supply, Acquisition, Cost and Employment of Painters’ Materials at the Burgundian Court, c.1375–1419, in Trade in Artists’ Materials, pp. 98-182, includes 26 tables with pigment purchases and prices drawn from the Burgundian Ducal accounts. Please click here for a pdf of the table of contents and title page.
‘‘The Lord’s Crucifix of Costly Workmanship”: Colour, Collaboration and the Making of Meaning on the Well of Moses’ in Circumlitio. The Polychromy of Antique and Late Medieval Sculpture, ed. V. Brinkmann, O. Primavesi and M. Hollein (Frankfurt am Main, 2010), pp. 356-381
Northern Renaissance Art, Oxford, Oxford University Press.
This book offers a wide-ranging introduction to the way that art was made, valued, and viewed in northern Europe from the late fourteenth to the early years of the sixteenth century. Drawing on a rich range of sources, from inventories and guild regulations to poetry and chronicles, it examines everything from panel paintings to carved altarpieces. While many little-known works are foregrounded, it also presents new ways of viewing and understanding the more familiar, such as the paintings of Jan van Eyck, Rogier van der Weyden, and Hans Memling, by considering the social and economic context of their creation and reception. Throughout, the perception that Italy was the European leader in artistic innovation at this time is challenged, and it is demonstrated forcefully that Northern art, and particularly that of the Southern Netherlands, dominated visual culture throughout Europe in this crucial period.
‘Claus Sluter’s ‘Well of Moses’ for the Chartreuse de Champmol Reconsidered: Part III’, Burlington Magazine, November 2008, pp. 724-741
No Equal in Any Land: Andre Beauneveu, Artist to the Courts of France and Flanders, with contributions by Till Holger Borchert and Jim Harris, Paul Holberton (London 2007), also published in French and Dutch.
This book considers the sculpture, manuscripts and stained glass attributed to Andre Beauneveu and investigates the processes of design and creation involved in monumental sculptural projects such as funerary monuments and Virgin and Child groups. It provides a detailed stylistic reassessment of the oeuvre of this painter-sculptor working for Louis de Male, Charles V and Jean de Berry; all known documentary evidence concerning his activity are presented in an appendix. The sculpture illustrated on the front cover will soon be on long term loan to The Courtauld Gallery.
The Courtauld Gallery Masterpieces, Scala Publishers Ltd. (London, 2007); Master of Flemalle/Robert Campin entry
'Claus Sluter's 'Well of Moses' for the Chartreuse de Champmol Reconsidered: part II', The Burlington Magazine, July 2006, pp. 456-67
'Claus Sluter's 'Well of Moses' for the Chartreuse de Champmol Reconsidered: part I', The Burlington Magazine, December 2005, pp. 798-809
‘Les Heures de Jacques II de Chastillion et Jeanne Flotte de Revel: faste, mémoire et devotion’ L’art d’enlumineur (Paris, 2002), pp. 4-94, ed. F. Avril and A. Châtelet.
‘The Parement de Narbonne, Context and Technique’, in The Fabric of Images, European Paintings on Fabric Supports, 1300-1500, Archetype Press, 2000, ed. C. Villers,
Between France and Flanders: Manuscript Illumination in Amiens in the Fifteenth Century, British Library Press and University of Toronto Press (London and Toronto 1999)
Examining manuscript illumination in Amiens in its historical and socio-economic context, this book pinpoints the artistic interchange between France and Flanders. Since documentary evidence is lacking, the internal evidence of the books themselves is employed, using a codicological approach to establish which manuscripts were made in the town, when and how, and to trace stylistic, physical, and textual relationships between them. Major themes of the work are the interchange of artistic ideas and the use of models in the process of creation and production, the formation of local style, and the reaction of indigenous illuminators to foreign ideas from both Paris and Flanders.
Robert Campin, New Directions in Scholarship, co-edited with Susan Foister, London, NG; Brepols and London, NG (London and Turnhout 1996)
‘A fifteenth-century French manuscript and an unknown painting by Robert Campin’, Burlington Magazine July 1995, pp.428-437
RECENT PAPERS AND PUBLIC LECTURES
Sculptural Polychromy: materials and practice on the Well of Moses at the Chartreuse de Champmol Keynote lecture, Copenhagen, Glyptotek, October 2009 in symposium on polychromy in ancient sculpture
‘The Seilern Triptych : New Evidence for its Making and Meaning’, paper given at the international symposium on Rogier van der Weyden held at Leuven in October 2009
‘The Seilern Triptych and the Master of Flémalle’, public lecture,
Berlin, Gemaldegalerie, May 2009
‘Der Moses-Brunnen in der Chartreuse de Champmol in Dijon. Farbfassung, Arbeitsteilung und Sinngehalt’, paper closing the conference in Frankfurt Circumlitio. Internationales Colloquium zur Polychromie der Antiken und Mittelalterlichen Skulptur, December 2008. (published 2010, see above)
‘Le Puits de Moïse reconsidéré’ and ‘Etude iconographique et reconstitution du Puits de Moïse’ two papers at the Musée des Beaux Arts, Dijon, in the Colloque International : Autour du Puits de Moïse : pour une nouvelle approche, October 2008
''The 'Well of Moses and Sculptural Polychromy around 1400', Getty Villa, Los Angeles, in the symposium Rediscovering Colour. New Perspectives on Polychrome Sculpture, May 2008.
‘The Indulgences given to the Well of Moses in Dijon and to other recently made sculptural groups’, given in the workshop on indulgences at The Courtauld Institute of Art in April 2007
‘The Seilern Triptych: new discoveries and the identity of the Master of Flemalle’ given at the symposium Robert Campin in Context Tournai in 2005.
Early Netherlandish painting; Burgundian Netherlands; Dijon; Late medieval sculpture; Northern Renaissance art; polychromy; pigments; technical art history; illuminated manuscripts; carthusians; Chartreuse de Champmol; Claus Sluter; Well of Moses; devotional images; artists’ materials; sculptural practice; Philip the Bold; Robert Campin