Summer School 2014
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.
Janine Catalano is an art and food historian based in London. A graduate of The Courtauld, where she specialised in food in Surrealism, Janine has published widely on the relationship between food and art, participated in conferences, and been featured in conversations at Tate and on BBC Radio 4. In addition to teaching courses at the Victoria and Albert Museum and lecturing on food, culture and art, she designs and leads tours of culinary and artistic London. Janine also curates culinary events and banquets grounded in artistic and historical research, from works in the Courtauld collection to the art of Salvador Dalí.
Dr Mehreen Chida-Razvi has an MA from The Courtauld, and obtained a second MA and her PhD from the School of Oriental and African Studies (SOAS). She specializes in the arts of Mughal South Asia, and has taught at SOAS, the Victoria and Albert Museum, and Sotheby’s Institute of Art. Mehreen is currently lecturing on the art and architecture of the Muslim world at institutions in London and Oxford. She has contributed to an Open University film on religious arts and to a documentary on the Taj Mahal. Mehreen is writing articles on European views of the Mughal Empire and a book on the Mughal mausoleum of Jahangir.
Dr Richard Cork is an award-winning art critic, historian, broadcaster and curator. Formerly Art Critic of the Evening Standard and The Times, and Slade Professor of Fine Art at Cambridge, Richard 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, including Michael Craig-Martin, 2006, and Wild Thing: Epstein, Gaudier-Brzeska, Gill, 2009. The most recent, The Healing Presence of Art, is a pioneering history of western art in hospitals (Yale University Press, 2012).
Dr Jim Harris is Andrew W. Mellon Foundation Teaching Curator at the Ashmolean Museum of Art and Archaeology in the University of Oxford. He wrote his PhD thesis at The Courtauld, on Donatello's polychrome sculpture, having previously received his BA and MA from the Institute. Prior to his appointment to the Ashmolean, he was Andrew W Mellon Foundation/Research Forum Postdoctoral Fellow and Caroline Villers Research Fellow in Conservation, undertaking (continuing) research on art historical approaches to three dimensional objects and on painted sculpture of the English Reformation.
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. Antonia is currently a Course Leader at Sotheby’s Institute of Art and also works as a gallery lecturer for the Tate Galleries and teaches on the Victoria and Albert Museum year course.
Dr James Hall is an art critic, historian and lecturer. A former art critic of The Guardian, he contributes to many publications, including the Times Literary Supplement. He has lectured at many museums and universities, and has appeared on radio, including Start the Week. He wrote several critically acclaimed books: The World as Sculpture (1999); Michelangelo and the Reinvention of the Human Body (2005); The Sinister Side: How Left-Right Symbolism Shaped Western Art (2008). His latest book, The Self-Portrait: A Cultural History (forthcoming in spring 2014, Thames & Hudson / Einaudi / Ludion) is the first history of self-portraiture.
Dr Paula Henderson is an independent architectural and garden historian. Her publications include articles in Architectural History, Garden History, Apollo, Country Life and The British Art Journal, as well as academic essays in Albion’s Classicism (Yale, 1995) and Patronage, Culture and Power: The Early Cecils (Yale, 2002). Her first 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 contributed the chapter on ‘Gardens’ for the forthcoming Cambridge Shakespeare Encyclopaedia and is completing a book on Gardens and Places of Pleasure in Tudor and early Stuart London.
Dr Katie Hill is Consultant Lecturer and Programme Leader of Asian Art and Its Markets at Sotheby’s Institute and director of OCCA, an Oxford-based gallery/consultancy promoting Chinese artists. She has lectured extensively and worked closely with a number of contemporary Chinese artists, conducting the ‘In Conversation’ with Ai Weiwei for his Sunflower Seeds installation at Tate Modern (2010). In 2012, she co-edited a special issue of the Journal of Visual Art Practice on Contemporary Chinese Art and is a deputy editor of the Journal of Contemporary Chinese Art (JCCA) launching in 2014. Katie co-authored The Chinese Art Book (Phaidon Press, 2013).
Dr Lucy Jessop studied at the University of Reading (BA) and at The Courtauld (MA and PhD). She has taught widely on the post-medieval architectural history of Britain, at The Courtauld, University College London, Oxford, Birkbeck, City and Reading universities, and she regularly lectures on the architecture of Somerset House. Lucy is a Senior Investigator with English Heritage's Assessment Team in York. Her book about the vernacular buildings of Alston Moor, in the North Pennines, was published in 2013. She is currently working on projects looking at castles in northern England, military buildings in North Yorkshire, and the English seafront.
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 was recently appointed Lecturer in 20th Century Modernism at The Courtauld. She joined the Institute in 2009 as Leverhulme Early Career Fellow, after teaching at University College London, the University of the Arts London, and the University of York. Klara was educated at University College London, 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 publications include a monograph titled Antipolitics in Central European Art 1956-1989 (London: I.B. Tauris, 2013).
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 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, and most recently Stadia: Sport and Vision in Architecture (2012). Jerzy’s latest exhibition was Piranesi’s Paestum: Master Drawings Uncovered (15 February - 18 May 2013).
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 is Teaching Associate in Art History at the University of Nottingham and 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 Caroline Levitt is a Visiting Lecturer and Associate Scholar at The Courtauld, where she completed her PhD on Guillaume Apollinaire and André Breton in 2008. She specialises in French art and literature of the late nineteenth and early twentieth centuries, and has particular research interests in Surrealism, in relationships between text and image and in artists working beyond easel painting. She has recently published articles in Nottingham French Studies and the online journal Papers of Surrealism, and is currently working on a monograph about artists who have owned books and drawn over them, from Rodin to Le Corbusier.
Dr Natalia Murray was born in St Petersburg, where she studied art history at the Academy of Arts and subsequently completed her doctorate at the State Hermitage Museum. In London from 1997, her book The Unsung Hero of the Russian Avant-Garde. The Life and Times of Nikolay Punin (1888-1953) was published in 2011. Since 2007 Natalia has been lecturing on nineteenth-twentieth-century Russian Art at The Courtauld. She is currently curating three exhibitions of Russian Art to take place at GRAD Gallery (March-June 2014), The Courtauld Gallery (September 2014-January 2015), and the Royal Academy of Arts (January-May 2017).
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 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 his book, Violent Art in Early Renaissance Florence.
Dr Geoffrey Nuttall studied Philosophy at University College London (BA) and Linguistics at Magdalene College, Cambridge (M.Phil.) and completed his doctorate in art history at The Courtauld Institute of Art on "Lucchese Patronage and the Purveyance of Luxury: 1369-1430”. He has published and lectured on aspects of Lucca and Lucchese patronage in France, Flanders and Italy, and continues to combine a career as an art historian with his long-standing activities as an academic publisher.
Dr Lois Oliver studied English literature at Cambridge University, and art history at The Courtauld (MA, PhD), where she wrote her doctoral thesis on 'The Image of the Artist, Paris 1815-1855'. She worked at the Harvard University Art Museums before joining the curatorial team at the Victoria and Albert Museum and then the National Gallery. Currently Assistant Professor in art history at the University of Notre Dame in London, she lectures for arts organisations throughout the UK, writes audio and multi-media tours for clients including Tate and the Royal Academy, and has appeared on TV programmes for the BBC and Channel 5.
Professor 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 wrote The Primacy of Drawing: Histories and Theories of Practice (2010), and curated the exhibitions The Quick and the Dead: Artists and Anatomy (1997) and Witches and Wicked Bodies , National Galleries of Scotland, Edinburgh (2013). Selected material from this exhibition will be shown at the British Museum (25 September 2014 - 11 January 2015). Deanna was a Getty Scholar in Los Angeles during 2001-2 and has undertaken international drawing residencies. www.deannapetherbridge.com
Professor Alan Powers studied Art History at the University of Cambridge, gaining a PhD in 1983. He taught History and Theory at University of Greenwich School of Architecture, Design and Construction until 2012 (latterly as Professor), and is now an independent scholar lecturing part-time at NYU London. He has written many books and articles on twentieth-century British art and design, and curated exhibitions at the Design Museum, Kettle’s Yard, the Imperial War Museum and the Royal Academy. He is an active member of the Twentieth Century Society set up to safeguard Britain’s architectural and design heritage from 1914 onwards.
Clare Richardson is a paintings conservator whose research interests include painting techniques and pigment deterioration. She currently works at the Victoria and Albert Museum preparing works for the new European Galleries and in private practice. 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 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 an independent scholar specializing in 13th- 15th-century Italian art. An alumna of The Courtauld (MA, PhD), she taught at Birkbeck (University of London), and is now a regular Visiting Lecturer at The Courtauld, Christie’s Education and NADFAS. Janet has held prestigious research fellowships and her book, The Making of Assisi: the Pope, the Franciscans and the Painting of the Basilica, co-authored with Dr Donal Cooper (Cambridge University), was published by Yale University Press in 2013. She has published articles in scholarly journals, as well as numerous essays and chapters in multi-authored books.
Dr Eileen Rubery came to art history after a career in Medicine and the Civil Service, obtraining an MA at The Courtauld in 2002. Her current research focuses on the church of S. Maria Antiqua in the Roman Forum, Papal patronage in Byzantine Rome, and relationships with Byzantium. She has written on early Christian art in Rome, ‘Greek’ monks and the papacy, the cult of the Virgin Mary and Byzantine Empresses. She lectures for Cambridge University Institute of Continuing Education, the Victoria and Albert Museum and Birkbeck (University of London), and organised an international conference on S. Maria Antiqua (Rome, December 2013).
Dr Rachel Sloan is Assistant Curator of Works on Paper at the Courtauld Gallery. She earned her PhD from the Courtauld Institute of Art with a thesis on Symbolism and artistic exchange between France and Britain. Rachel worked at the J. Paul Getty Museum, Los Angeles, and the Santa Barbara Museum of Art before returning to The Courtauld in 2012. She is the curator of two forthcoming exhibitions at The Courtauld Gallery: A Dialogue with Nature: Romantic Landscapes from Britain and Germany and Master Prints from the Courtauld Collection (both 2014).
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 wrote his PhD on medieval book illustration. He has 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 has led tours to Andalucía.
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).