Courses are taught by members of The Courtauld Institute of Art’s teaching staff and other specialists in their field – in the majority Courtauld alumni - who are currently researching and teaching at leading British and international institutions.

LECTURERS’ BIOGRAPHIES


Dr Douglas Brine teaches at Trinity University, San Antonio, Texas. After his PhD at The Courtauld and postdoctoral fellowships he taught previously at Birkbeck College and The Courtauld, and in the US at Johns Hopkins University. He also worked in London for the National Gallery and National Trust. Douglas specialises in early Netherlandish art and is particularly concerned with the visual culture of commemoration. His research focuses on wall-mounted memorials  and their relation to contemporary painting, notably that of Jan van Eyck and Rogier van der Weyden.
Please note that Dr Brine is unable to join us this year.  His part of the course will now be taught by Courtauld Visiting lecturer and Van Eyck expert Dr Susan Jones.


Caroline Brooke is a freelance art historian and lectures frequently at the National Gallery, London. She has published articles on Venetian drawings and is currently working on the Venetian approach to narrative painting during the sixteenth-century. She is co-author of the Universal Leonardo project, a comprehensive guide to the life and work of Leonardo da Vinci, and was script advisor for 'Medici: Godfathers of The Renaissance', broadcast on Channel 4.

Martin Caiger-Smith is Head of The Courtauld’s MA Programme ‘Curating the Art Museum’.  Previously he was Head of Exhibitions at the Hayward Gallery, London, where he curated and organised a wide range of exhibitions, and oversaw the delivery of an extensive programme of exhibitions, many of which showed abroad and around the UK. He is a consultant on art and exhibition projects, and writes on contemporary art and photography. His most recent book, Antony Gormley (Tate Publishing), was published in May 2010.

Mehreen Chida-Razvi holds two MA degrees, one from the Courtauld Institute of Art and a second from the School of Oriental and African Studies (SOAS), and has recently completed her PhD at SOAS on the Imperial Mughal tomb of Jahangir.  She has lectured for SOAS, the Victoria and Albert Museum, and Sotheby’s Institute of Art, and has participated in a documentary on the Taj Mahal.  Mehreen’s research interests include Mughal art and architecture, Islamic art and architecture and the relationship between the arts of Europe and the Islamic world.
 

Dr Donal Cooper completed his PhD at The Courtauld in 2000 and joined the University of Warwick in 2005. Each autumn term he teaches on Warwick’s programme in Venice. Donal’s Venetian research focuses on Venice’s maritime empire (or ‘Stato da Mar’) and on the patronage of religious orders. As well as knowing Venice well, Donal has travelled extensively in the former Venetian territories in Croatia, Montenegro and Greece. He has published widely on medieval and Renaissance art in Italy and, more recently, in Croatia. In 2011 he organised two international conferences on the Venetian Mediterranean at Warwick and in Venice.

Richard Cork is an award-winning art critic, historian, broadcaster and curator. He currently writes for The Financial Times and broadcasts regularly on BBC radio and TV. He has acted as a judge for the Turner Prize and curated major exhibitions at Tate, the Hayward Gallery, the Barbican Art Gallery, the Royal Academy and other European venues. He has written many acclaimed books, most recently Michael Craig-Martin, 2006; and Wild Thing: Epstein, Gaudier-Brzeska, Gill, 2009. His new book, The Healing Presence of Art, is a pioneering history of western art in hospitals and will be published by Yale in March 2012.

Dr Peter Dent is a lecturer in Art History at the University of Bristol. He studied at Merton College, Oxford, before completing an MA and  PhD at The Courtauld, where he also held a British Academy Postdoctoral Fellowship. He also held a Henry Moore Foundation postdoctoral fellowship at the University of Warwick. He specialises in late medieval and Renaissance art in Italy and is interested in sculptural aesthetics. He is working on two books, a collection of essays on the theme of ‘Sculpture and Touch’, and a study of sculpture in late medieval Italy, entitled Sculptural Encounters in Dante’s Italy.

Dr Michael Douglas-Scott is an Associate Lecturer at Birkbeck, University of London, and specialises in Italian painting and patronage. He has lectured extensively on the Italian Renaissance. He lived in Italy for many years and has published articles in Arte Veneta, The Burlington Magazine, and the Journal of the Warburg and Courtauld Institutes.

Antonia Gatward Cevizli took her MA in Art History at the University of Warwick, during which she spent time in Venice. She completed her PhD at the University of Warwick in 2011, specialising in cultural exchange between Italy and the Ottomans in the fifteenth century. She has taught History of Art at Sabanci University, Istanbul and at adult education centres in the UK, and has recently been appointed Course Leader at Sotheby’s Institute for the Foundations of Western Art course.  In addition to research and teaching, she works as a professional gallery lecturer for the Tate Galleries.

Dr Paula Henderson has an MA and PhD in architectural history from The Courtauld. She lectures widely in Britain and in the United States and has published over thirty articles on English houses and their settings.  Her book, The Tudor House and Garden: architecture and landscape in the 16th and early 17th centuries (Yale University Press), won the Berger Prize for the outstanding contribution to the history of British art for 2005. She is a Fellow of the Society of Antiquaries of London.  She and her husband have lived (and gardened) in the Cotswolds for almost thirty years.
 

Dr Cecily Hennessy obtained a PhD in Byzantine art at The Courtauld in 2001.  She has taught at universities in the USA and the UK and was Head of Short Courses and Adult Learning at The Courtauld before joining Christie’s Education as a lecturer in 2006.  Her book Images of Children in Byzantium was published in 2008. She has published various articles, including a section on the topography of Constantinople in The Oxford Handbook of Byzantium (2008) and one on young people in Byzantium in the Wiley-Blackwell A Companion to Byzantium (2010). An article on paintings in Istanbul is forthcoming.

Dr Lucy Jessop studied at the University of Reading (BA) and at The Courtauld (MA and PhD), writing her thesis on the architectural and artistic patronage of government ministers between 1688 and 1715. She has taught widely on the post-medieval architectural history of Britain, and London in particular, at The Courtauld, University College London, Oxford, Birkbeck, City and Reading universities, as well as regularly lecturing on the architecture of Somerset House. Lucy is an Architectural Investigator with English Heritage in York, and at present is writing a book about the vernacular buildings of Alston Moor, a parish in the North Pennines.

Dr Susan Jones got her Ph.D. in art history from The Courtauld Institute on the topic of the workshop and followers of Jan van Eyck. From 1994 to 1996, she was Assistant Curator at The National Gallery, London, and from 1998–2001 she was Old Master Society Fellow in the Department of European Painting at The Art Institute of Chicago. She has published various articles 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 Institute and writing a book on Jan van Eyck.


Dr Klara Kemp-Welch is Leverhulme Early Career Fellow at The Courtauld, and has a PhD in Art History from University College London (2008). She has lectured at University College London, the University of the Arts London, the University of York, and Birkbeck. She regularly publishes essays and criticism , among others in Art Monthly, and Third Text. Her monograph Antipolitics in Action. Art and Theory in Late Socialist Central Europe, will be published by I.B. Tauris & Co. in 2013. She is also working on another book project, entitled Networking the Bloc: Repositioning East European Art in the Global Field. 
 

Dr Ayla Lepine lectures and publishes widely on British art and architecture from c.1850 to the present. A Visiting Lecturer at The Courtauld since 2008, she obtained her PhD in 2011. She has also taught at the Victoria and Albert Museum, King’s College London, and Warwick University. She works part-time as a historic buildings researcher for Donald Insall Associates and has a particular interest in heritage and conservation. Her current research concerns the Gothic Revival and internationalism, overlaps between architecture and poetics, and intersections between faith and the arts. Her recent publications have appeared in the Burlington Magazine, Whitehot, and the Architects’ Journal.

Dr Natalia Murray was born in St Petersburg, where she studied Art History for five years at the Academy of Arts.  In 1995 Natalia won a place at the State Hermitage Museum to study for her Doctorate, also in Art History.  From 1997 to 2006, she organized exhibitions of contemporary Russian art in London and has completed the first biography of one of the most influential Russian art critics, Nikolay Punin (due be published in 2012).  In the last five years Natalia has been giving lectures on 20th- century Russian Art at The Courtauld Institute of Art.

Helena Pickup is a Consultant Lecturer at Sotheby’s Institute of Art, teaching early modern fine and decorative arts with a specialist interest in art created for the royal courts of 17th - and 18th -century France and England. After an MA in Decorative Arts and Historic Interiors at the Wallace Collection, she worked as a curator for the National Trust at Waddesdon Manor, where she took a special interest in the drawings collection, contributing to the Waddesdon Catalogue of Drawings for Architecture, Design and Ornament (2007) and researching the touring exhibition Theatres of Life: Drawings from the Rothschild Collection at Waddesdon Manor (2007).

Clare Richardson is a paintings conservator whose research interests include painting techniques and pigment deterioration. She works in private practice undertaking the mobile infrared reflectography of paintings and other historic art objects. Clare’s recent conservation projects include The Courtauld Gallery’s Cain Slaying Abel  and Moses and the Brazen Serpent by Rubens as well as Constable’s six foot Sketch of the Leaping Horse at the Victoria and Albert Museum.  She has contributed to the exhibition catalogue of John Constable: Oil Sketches from the V&A and is working on the publication of her Villers fellowship research on the painting techniques of Rubens 1609-12.

Dr Janet Robson is a specialist in Italian art from the thirteenth to the fifteenth centuries. She is currently a Visiting Lecturer at The Courtauld and she also teaches regularly at  Birkbeck (University of London) and Christie’s Education. She has held research fellowships at the British School at Rome and at the Harvard University Center for Italian Renaissance Studies (Villa I Tatti) in Florence and has published widely, with articles in Art Bulletin, Apollo and the Burlington. Her major research project at present is a book on the Basilica of San Francesco, Assisi, co-authored with Donal Cooper of Warwick University.

Dr Eileen Rubery came to Art History after a career in Medicine and the Civil Service.  She completed her MA in Byzantine and Medieval Art at The Courtauld in 2002.  Her current research is on aspects of patronage of the Popes in Byzantine Rome, and their relationship with the Eastern Empire. Eileen has published several papers on aspects of this subject and also on the early cult of the Virgin Mary and on Byzantine Empresses.  She lectures for Cambridge University Institute of Continuing Education, the Victoria and Albert Museum  and Birkbeck (University of London).

Professor Timon Screech studied Japanese at Oxford before completing his PhD at Harvard.  He has taught the history of Japanese art at SOAS since 1991 and was elected to a chair in 2006. He is concurrently permanent Visiting Professor at Tama Art University, Tokyo. Timon Screech has published some dozen books on the visual culture of the Edo period, of which Sex and the Floating World: Erotic Images in Japan, 1700-1820 is perhaps best known (Reaktion, 1999, 2nd rev. ed. 2009). His field-defining study of Edo period painting and printmaking will be published in 2012 (Reaktion Books/Hawaii University Press).

Gail Turner is an art historian specialising in Spanish painting. She has an MA in History from Oxford, an MA from The Courtauld, and a Diploma in Fine Art. Gail teaches on the Cambridge University International Summer School  and lectures extensively on Spanish art and history for organisations including the Art Fund, the Victoria and Albert Museum, and NADFAS.  She lived in Spain for several years, lectures on art tours, and is currently writing a book on Spanish art and history.  Gail is also a painter and etcher.

Dr Matthias Vollmer is adjunct Professor at the Freie Universität Berlin European Studies Programme. He studied History of Art, Philosophy, and Orientalism at the Freie Universität Berlin and did his PhD on medieval book illustration. He has regularly taught interdisciplinary seminars on Renaissance art and thought as well as on modern art at the Freie Universität Berlin. He currently researches the principles of visualisation in art and science and the development of colour theories from medieval times to the present.

Dr Rose Walker studied Classics at Oxford before working in arts and education. She obtained her PhD at The Courtauld on Spanish illuminated manuscripts and the management of change. Her book, Views of Transition: Liturgy and Illumination in Medieval Spain, was published by The British Library in 1998. Her subsequent publications have covered a wide range from the wall paintings of San Isidoro de León to Cistercian cloisters in Spain around 1200.  She is currently completing a project that looks at routes of artistic exchange in Roman and Medieval Spain, as well as teaching at Morley College.

Dr Christian Weikop has a PhD from the University of Birmingham, and lectures on modern and contemporary art at the University of Edinburgh, following a period as lecturer at the University of Sussex. In 2005 Dr Weikop organised an international Brücke centenary conference. He has written extensively on this group of Expressionists, and, most recently, on the Vienna Secession for the catalogue of Birth of the Modern: Style and Identity in Vienna 1900 (Neue Galerie, New York, February -June, 2011). His edited volume New Perspectives on Brücke Expressionism: Bridging History was published by Ashgate in 2011.

Timothy Wilcox was a curator at the Victoria & Albert Museum, at the Walker Art Gallery in Liverpool, at Hove Museum and Art Gallery, and at the British Museum.  He was also Associate Lecturer at the Universities of Brighton and Surrey and Course Leader at the Cambridge International Summer School. Timothy has curated numerous exhibitions on British and French art, most recently Constable and Salisbury for the Salisbury and South Wiltshire Museum (2011). In 2012, his Cotman in Normandy will be shown at Dulwich Picture Gallery and The Ceramic Art of James Tower, 1919-1988 will be published by Lund Humphries.

Dr Richard Williams was awarded his doctorate by The Courtauld Institute of Art and is Associate Lecturer at Birkbeck (University of London). He was a post-doctoral fellow at The Paul Mellon Centre (Yale University) and his publications focus on the visual arts in Northern Europe.