Study Tours 2014
This year, we are piloting a more focused Study Tour programme, concentrating on those themes and destinations in which many of our Short courses students have expressed a particular interest. Study Tours remain unchanged in every other respect, being exclusive opportunities to spend time with an expert art historian and like-minded enthusiasts looking at works of art and architecture in their original settings.
Tour fees in 2014 are £400 for 3 days and £500 for 4 days.
The fee includes tuition, entry to all museum and sites, and transport between sites in the respective city or to destinations within the vicinity. It does not include travel to and from the city/main destination of the tour, or accommodation: students are free to make their own arrangements. Study Tours are limited to a maximum of 12 students. All Study Tours include a good deal of walking and require a reasonable degree of physical fitness and mobility. Please contact us if you have any doubts over your suitability to take part in any of the tours.
For further details please contact us on:
tel +44 (0)20 7848 2678
fax +44 (0)20 7848 2589
Study tours 2014
Violence and power in early renaissance florence
Dr Scott Nethersole
Thursday 4 – Saturday 6 September 2014
This Study Tour is now FULL
Fifteenth-century Florence witnessed a delicate balance of power, an equilibrium so fragile that it frequently tipped over causing widespread violence, social unrest, exile and political instability. Yet despite such a tumultuous history, the visual arts produced by the likes of Masaccio, Filippo Lippi or Botticelli in this period are often seen in a very different light: a world of sweet Madonnas, ideal bodies and enlightened humanist patrons. Breaking with such traditions, this study trip will examine how visual media were exploited to serve the interests of different parties against the backdrop of these vicissitudes. On each day of this to tour to Florence, we will follow a well-known route that not only cuts across the urban geography of the city, but also across our preconceptions of the Renaissance. They will include the route followed by the condemned on their way to the scaffold, that taken by a new Archbishop upon appointment, and that followed by the Magi processions on 6 January. En route we will visit some of Florence’s most famous sites and works of art and view them with new eyes.
renaissance bruges: public splendour, private devotion and civic pride
Dr Susan Jones
Friday 12 – Sunday 14 September 2014
This Study Tour is now FULL
Our destination is the picturesque Flemish town of Bruges, a formidable centre of trade and culture in the Middle Ages and Renaissance. Following in the footsteps of countless artists, historians and art historians, we will examine objects of exquisite refinement and beauty in their place of origin. Over three days, we will see sites, monuments and objects that shed light on Bruges society in the Renaissance and on the often complex relationships between civic, courtly, ecclesiastical and private life. We will study the refined and detailed oil paintings of Netherlandish painters such as Jan van Eyck and Hans Memling, but we will also delve into the media of sculpture, manuscript illumination, bronze casting, tapestry and goldsmith work. Perhaps the most valuable sights, however, will be the buildings and façades, canals and squares of Bruges itself, which, despite the passage of time, provide valuable evidence for life in Bruges in the fifteenth and early sixteenth centuries.
baroque rome: the "great theatre of the world"
Dr Miriam Di Penta
Thursday 9 October - Sunday 12 October 2014
This Study Tour is now FULL
In the seventeenth century, Rome became the most dynamic centre of artistic production in Italy, overtaking both Florence and Venice. The Catholic Church employed the visual arts as instruments of propaganda, and in the process transformed Rome into a modern city and a vibrant theatre for its message of triumph and glory. Behind these developments were different Popes, but also various religious orders and sophisticated private patrons. Countless Italian artists and foreigners from Flanders, Holland and France converged on Rome and brought their own cultures into this lively artistic melting pot. Starting with the works of Annibale Carracci and Caravaggio, the two great innovators of Roman Baroque Painting, we will proceed to look at the grandiose buildings of Bernini and Borromini, whose projects so dramatically contributed to the changing image of the city.
Visits will include the Carracci Gallery at Palazzo Farnese; a number of important churches, including S. Luigi dei Francesi, Sant’ Agostino, Santa Maria del Popolo, Sant’Andrea della Valle, Santa Maria in Vallicella, and il Gesù; and significant historical collections such as those at Galleria Borghese, Galleria Doria-Pamphilj and Galleria Corsini, all offering a rich array of relevant paintings and sculptures.
Dr Scott Nethersole took his doctorate at The Courtauld on ‘The Representation of Violence in Fifteenth-century Florence’. While writing his PhD he held the Michael Bromberg Fellowship in the Department of Prints and Drawings in the British Museum. Subsequently he was the Harry M Weinrebe Curatorial Assistant at the National Gallery, London, before returning to The Courtauld in 2010 to take up the post of Lecturer in Italian Renaissance Art. He curated the exhibition Devotion by Design: Italian Altarpieces before 1500 at the National Gallery in 2011 and is currently finishing a book on Violent Art in Early Renaissance Florence.
Dr Susan Jones wrote her PhD at The Courtauld on Jan van Eyck. From 1994 to 1996, she was Assistant Curator at The National Gallery, London, and from 1998–2001 Old Master Society Fellow in the Department of European Painting at The Art Institute of Chicago. She has published widely on Jan van Eyck and is a co-author of Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Yale University Press, 2008). Currently, she is a Visiting Lecturer at The Courtauld and is writing a book on Jan van Eyck.
Dr Miriam Di Penta studied for a postgraduate diploma at The Courtauld and obtained her PhD in art history at the University of Rome. Her research focuses on the Italian Baroque and Italian art collecting during the seventeenth and eighteenth centuries. She has taught at the University of Rome and published numerous articles as well as a book, Cardinal Giovan Battista Spinola and Baciccio (2007). As a specialist consultant in the Old Master Paintings Department at Sotheby’s, she honed her understanding of art works as physical objects. She is currently writing a book on the Neapolitan artist Andrea de Leone.