Summer School 2013
General Information: Lecturers
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.
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.
Dr Mehreen Chida-Razvi is an art historian specialising in the arts and material culture of the Islamic and Indo-Islamic worlds. She obtained her MA degree from The Courtauld Institute of Art and a second MA from the School of Oriental and African Studies (SOAS), where she also completed her PhD. Mehreen is an occasional lecturer at SOAS, the Victoria and Albert Museum, and Sotheby’s Institute of Art on many topics, including painting and architecture of the Mughals and Safavids, and participated in a documentary on the Taj Mahal. She is currently researching and publishing on European views of Islamic cities.
Dr 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 was 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 Research Fellowship. He subsequently held a Henry Moore Foundation postdoctoral fellowship at the University of Warwick. Peter 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, Sculptural Encounters in Dante’s Italy.
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.
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.
Dr Antonia Gatward Cevizli completed her PhD at the University of Warwick, specialising in cultural exchange between Italy and the Ottomans in the fifteenth century. During her undergraduate degree in History of Art and Italian and her MA in History of Art, she studied in Siena and Venice. She has taught History of Art at Sabanci University, Istanbul and at adult education centres in the UK. She is currently a Course Leader at Sotheby’s Institute of Art and continues to work as a professional gallery lecturer for the Tate Galleries.
Dr Paula Henderson is an independent architectural and garden historian with an MA and PhD from The Courtauld. Her many publications include scholarly articles, and academic essays in Albion’s Classicism (Yale, 1995) and Patronage, Culture and Power: The Early Cecils (Yale, 2002). Her book The Tudor House and Garden: Architecture and Landscape in the Sixteenth and Early Seventeenth Centuries (Yale, 2005), won the Berger Prize for British Art History. She is currently completing a book on Gardens and Places of Pleasure in Tudor and early Stuart London. Paula has lived (and gardened) in the Cotswolds for almost thirty years.
Dr Cecily Hennessy gained a PhD in Byzantine art from The Courtauld. 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 also published articles on Komnenian and Palaiologan Byzantine manuscripts, on paintings in Istanbul, on the topography of Constantinople in The Oxford Handbook of Byzantine Studies (2008) and on Byzantine children in the Blackwell Companion to Byzantium (2010).
Dr Nancy Ireson obtained her PhD at The Courtauld and has curated exhibitions at Tate Modern, the National Gallery, and The Courtauld Gallery (where her projects included ‘Cézanne’s Card Players’ and ‘Beyond the Moulin Rouge: Toulouse Lautrec and Jane Avril’). She writes and lectures regularly on a range of late nineteenth century art. Her most recent research – developed during a fellowship at Drawings Institute of the Morgan Library and Museum, New York – focuses on the drawings of Georges Seurat and on Degas’ representations of the Circus.
Dr Sarah James is a Lecturer in art history at UCL. Her current research focuses on pre- and postwar German photo-essays and documentary practices. Her new book Common Ground: German Photographic Cultures Across the Iron Curtain will be published by Yale University Press in Spring 2013, and her next project Paper Revolutions will explore the unofficial art world of East Germany. She has published widely on photography and contemporary art, and also writes as a critic, contributing regularly to the magazines Frieze and Photoworks.
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, at The Courtauld, University College London, Oxford, Birkbeck (University of London), City and Reading universities, and she regularly lectures on the architecture of Somerset House. Lucy is an Architectural Investigator with English Heritage in York, and her book about the vernacular buildings of Alston Moor, a parish in the North Pennines, will be published in the spring of 2013.
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 Klara Kemp-Welch currently lectures in modern and contemporary art history at The Courtauld. She joined the Institute in 2009 as Leverhulme Early Career Fellow, after lecturing at University College London, the University of the Arts London, and the University of York. As an undergraduate, Klara studied at University College London and the School of Slavonic and East European Studies, completing her PhD in art history in 2008. Her research interests include modern and contemporary East European art, Latin American art, and international artists’ networks. Her first book Antipolitics in Central European Art is forthcoming with I.B. Tauris in 2013.
Dr Rose Kerr is Honorary Associate of the Needham Research Institute in Cambridge, after retiring as Keeper of the Far Eastern Department at the Victoria Albert Museum. She graduated in Chinese studies and was a student in China during the last year of the Cultural Revolution, 1975-1976. She has taught at the University of Sussex, and is Honorary Fellow at the University of Glasgow, Chairman of the Great Britain-China Trust, Trustee of the Worcester Porcelain Museum and Trustee of the Sir Percival David Foundation of Chinese Art. She is the author of numerous books and articles on Asian art.
Dr Jerzy J Kierkuc-Bielinski obtained his PhD from The Courtauld in 2005. He subsequently worked on the British Museum 2008 exhibition and catalogue The American Scene: Prints from Hopper to Pollock. He is currently the exhibitions curator at Sir John Soane’s Museum and his latest publications include the exhibition catalogue George Scharf: From the Regency Street to the Modern Metropolis and Sir John Soane: Installation and Identity in a Regency Collection.
Sara Knelman is a London-based writer and curator. She is Commonwealth Scholar and Steven and Elena Heinz PhD Programme Scholar at The Courtauld, where she researches photographic exhibition and curation in the art museum. She was Curator of Contemporary Art (2006-2009) at the Art Gallery of Hamilton, Canada, and Talks Programmer (2012) at The Photographers' Gallery, London. Sara served as a jury member for the Grange Prize for contemporary photography (2012) and the Magenta Foundation's Flash Forward prize for emergent photographers (2008-9; 2013). She is a contributing editor to Either/And and writes about photography and contemporary art for Daily Serving.
Dr Ayla Lepine lectures and publishes widely on British art and architecture from c.1850 to the present. Her academic qualifications are in theology and art history, and she obtained an MA (2005) and PhD (2011) from The Courtauld Institute of Art. She has taught at The Courtauld, King's College London, Warwick University, and Yale University. She has held postdoctoral research fellowships at The Courtauld Research Forum and the Yale Institute of Sacred Music. Her current interests include modern monastic architecture and the persistence of the Gothic Revival beyond the nineteenth century.
Dr Natalia Murray was born in St Petersburg, where she studied art history at the Academy of Arts. In 1995 Natalia won a place at the State Hermitage Museum to study for her Doctorate in art history. In London from 1997, she organized exhibitions of contemporary Russian art. Her book, The Unsung Hero of the Russian Avant-Garde. The Life and Times of Nikolay Punin (1888-1953), was published by Brill Academic Publishers in 2012. Since 2007 Natalia has been lecturing on nineteenth- to twentieth-century Russian Art at The Courtauld, while working on her second PhD on Russian Proletarian Art after 1917.
Dr Mellie Naydenova-Slade did her undergraduate degree at Cambridge and obtained her MA and PhD from The Courtauld, writing her doctoral thesis on the subject of the Holy Kinship – the extended family of Christ. Mellie has taught on medieval art and architecture at The Courtauld, at Birkbeck (University of London), the University of Kent and Sotheby’s Institute. A post-doctoral fellowship at the Mellon Centre for Studies in British art has supported her forthcoming book, based on her doctoral research. Her publications have focused on English medieval art and have reflected a particular research interest in wall paintings and manuscript illumination.
Dr Lelia Packer studied art history at the University of Chicago after which she moved to France where she attended the École du Louvre. She recently completed her doctorate in Early Modern Northern European Art at New York University’s Institute of Fine Arts where she held the Smyth and Dean’s Dissertation Fellowships. Dr. Packer has taught at NYU and in London and has experience in a number of museums including the Metropolitan Museum of Art and the National Gallery of Art, Washington.
Deanna Petherbridge is an artist and writer primarily concerned with drawing. She is Professor Emeritus, University of the West of England, Bristol and was Professor of Drawing at the Royal College of Art, London. She is the author of The Primacy of Drawing: Histories and Theories of Practice, Yale University Press, 2010. She curated the touring exhibition The Quick and the Dead: Artists and Anatomy in 1997 and is currently selecting Witches and Wicked Bodies for the National Galleries of Scotland, Edinburgh 2013. She was a Getty Scholar in Los Angeles during 2001-2 and has undertaken international drawing residencies. www.deannapetherbridge.com
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 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 thirteenth to fifteenth-century Italian art. She is a regular Visiting Lecturer at The Courtauld, where she obtained her MA and PhD and also teaches 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 in Florence and has published widely, with articles in Art Bulletin, Apollo and the Burlington. Her book on the Basilica of San Francesco, Assisi, co-authored with Donal Cooper of Warwick University, will be published by Yale University Press in 2013.
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 papers on early Christian art in Rome, the importance of the church councils, 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, Obtaining Images, was 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 taught 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 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 completing a project on routes of artistic exchange in Late Antique and Early Medieval Spain. She has taught at Birkbeck (University of London) and at Morley College, and led tours to Andalucia.
Dr Christian Weikop is Chancellor's Fellow at the University of
Edinburgh, where he lectures on modern and contemporary art, and previously lectured at the University of Sussex. He has written extensively on the Brücke group of Expressionists, and 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 and he is the co-editor of The Oxford Critical and Cultural History of Modernist Magazines. Volume III: Europe 1880-1940 (2013).
Timothy Wilcox is an independent scholar and curator, and worked in the Victoria and Albert Museum, at galleries in Liverpool and Hove, and as Acting Assistant Keeper in charge of the historic British collections in the Department of Prints and Drawings of 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, including Constable and Salisbury for the Salisbury and South Wiltshire Museum (2011) and, most recently, Cotman in Normandy at Dulwich Picture Gallery (2012).
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.