Dr Alixe Bovey is a Lecturer in Medieval History at the University of Kent, where she specialises in Gothic art and its cultural contexts. Her publications include Monsters and Grotesques in Medieval Manuscripts and Chaworth Roll: A Fourteenth-Century Genealogy of the Kings of England.

Caroline Brooke is an associate lecturer at Birkbeck, University of London. Her research focuses on drawing practices in Renaissance Italy, and she is co-author of the Universal Leonardo Project website - a fully comprehensive guide to the life and work of Leonardo da Vinci.

Dr Stephanie Buck is Curator of Drawings at The Courtauld Gallery. She has researched and published on Hans Holbein the Younger and on Northern Gothic and Renaissance drawings. She was formerly adjunct professor at the Freie Universität Berlin European Studies Program and research fellow at the Berlin Kupferstichkabinett and the Städelsches Kunstinstitut Frankfurt am Main where she curated exhibitions on Netherlandish and German drawings of the 15th and 16th centuries.

Dr Sara Cochran is Assistant curator at the Los Angeles County Museum of Art. She has worked on three exhibitions for the museum - David Hockney Portraits (2006), Magritte and Contemporary Art: The Treachery of Images (2006) and Dali: Painting & Film (2007). She received her doctoral thesis from the Courtauld Institute of Art in 2005. Previously, she has lectured in contemporary art at Sotheby’s Institute of Art in London and worked at The Solomon R. Guggenheim Museum in New York.
.
Dr Richard Cork is an art critic, award-winning author, historian, broadcaster and exhibition organiser. His books include Vorticism (1976), Art Beyond the Gallery (1985), David Bomberg (1987), A Bitter Truth: Avant-Garde Art and the Great War (1994) Jacob Epstein (1999) a four-volume collection of his critical writings on modern art, published in 2003 by Yale University Press and Michael Craig-Martin (2006).

Dr Peter Dent is a British Academy Postdoctoral Research Fellow at the Courtauld Institute of Art. He specialises in Italian sculpture of the early Renaissance and is working on the relationship between sculpture and the senses in medieval 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.

Dr Alexandra Gajewski studied for her doctorate (Gothic architecture in northern Burgundy) at the Courtauld. Since then she has taught at various London universities and is currently working as Visiting Assistant Professor at the University of Michigan, Ann Arbor. She has published on French and German art and architecture in the Middle Ages.

Dr Catherine Grant completed her PhD at the Courtauld Institute of Art in 2006, and has been the 2007 Research Forum Postdoctoral Fellow. She is continuing her research on the representation of adolescence in contemporary photography, in relation to the changing representation of adolescent femininity in photographic portraiture, painting and literature. She has been a visiting lecturer at the Sotheby’s Institute and LCC, and is currently visiting lecturer at The Courtauld. She has written extensively on contemporary art for magazines and journals including Untitled, Flash Art and Contemporary.

Dr Sudeshna Guha teaches South Asian History at the Faculty of Asian and Middle Eastern Studies, Cambridge University. Her current research focuses on visual histories and knowledge formation on the archaeological, aspects of which is reflected in her recently edited volume, The John Marshall Albums: Archaeology, Photography and the Creation of Pasts (Mapin, forthcoming).

Dr Paula Henderson has an MA in art history from the University of Chicago and a PhD in architectural history from the Courtauld Institute of Art. 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 British Art History in 2005. She lectures widely in the USA and Britain.

Dr Cecily Hennessy studied for her BA and MA in History of Art at the University of Washington and went on to gain a PhD in Byzantine art at the Courtauld Institute of Art 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 Institute before joining Christie’s Education as a lecturer in 2006. Her book Images of Children in Byzantium is forthcoming in April 2008.

Dr Sarah James completed her PhD on German Photography at the Courtauld Institute of Art. She has been a visiting lecturer in art and theory at The Courtauld, a supervisor on modernism at Cambridge, and for the last two years has been Visiting Lecturer of Thinking Photography at the Ruskin School of Drawing and Fine Art, University of Oxford. She is a Lecturer at Sotheby’s Institute of Art, teaching twentieth century photography and modernism and also writes for journals including The New Left Review and Art Review and regularly contributes feature essays on photography and photographic criticism to Art Monthly.

Dr Lucy Jessop studied at the Courtauld Institute of Art, specialising in Early Modern British architecture. Her thesis, Architecture and the Government Minister, 1688-1714, examined patrons’ attitudes to architecture, especially country houses. She has taught at The Courtauld, UCL, City and Reading universities and has worked since 2006 as an architectural investigator in the Research Department of English Heritage.

Dr Richard Johns studied at the Courtauld Institute of Art and the University of York and is currently Junior Research Fellow in the History of Art at Homerton College, Cambridge. His research encompasses painting and the decorative arts in England from late seventeenth and early eighteenth centuries, with a particular focus on the work of James Thornhill. He has previously taught at the University of Nottingham, the Open University, and as a consultant lecturer for Sotheby’s Institute of Art.

Dr Jerzy Kierkuc-Bielinski is Exhibitions Curator at the Sir John Soane’s Museum and has worked as a Visiting Lecturer at The Courtauld where he completed his PhD focusing on American Conceptual art in the Cold War context of the People’s Republic of Poland. His most recent publication is the catalogue for the British Museum exhibition: The American Scene: Great Prints from Hopper to Pollock.

Dr Frederica Law-Turner wrote her doctorate at the Courtauld Institute of Art on fourteenth-century illuminated psalters. She has catalogued manuscripts for Sotheby’s and taught at University of Kent among other places. She is currently preparing her thesis on the Ormesby Psalter for publication by Bodleian Library Press.

Dr Anna Lovatt completed her PhD at the Courtauld Institute of Art and is now Lecturer at the University of Nottingham. Her research focuses on the importance of drawing in New York-based sculptural practices of the late ‘60s and early ‘70s.

Clare Richardson is a paintings conservator whose research interests include Victorian painting techniques and pigment deterioration. From 2004-2007 she was a Paul Mellon Research Fellow in the Department of Conservation and Technology at the Courtauld Institute of Art. She currently works in private practice, and has her own business undertaking mobile infrared reflectography of paintings.

Dr Janet Robson is an Associate Lecturer at Birkbeck, University of London and a Visiting Lecturer at the Courtauld Institute of Art, where she gained her Ph.D. She teaches late-medieval Italian art, and her research focuses on religious iconography in general and the art of the Franciscan order in particular. She has published widely, including articles in Art Bulletin and Apollo, and is currently working on a book about the Basilica of San Francesco in Assisi, in collaboration with Dr. Donal Cooper of Warwick University.

Robin Simon, FSA, has written and lectured extensively on Italian art of the thirteenth and fourteenth centuries and on eighteenth-century British art. He taught the history of art and English literature at Nottingham University and was director of the Institute of European Studies in London before becoming editor of Apollo magazine. He is now editor of The British Art Journal and is well known as a critic and broadcaster. His most recent book is Hogarth, France and British Art (2007).

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 Ph.D. on medieval book illumination. 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 various interrelations between diagrams and images in the Middle Ages and the Renaissance.

Dr Christian Weikop has a PhD in Art History from the University of Birmingham, and he currently lectures on modern and contemporary art at the University of Sussex. In 2005 Dr Weikop was awarded a Leverhulme Trust fellowship, and in the same year he organised an international Brücke centenary conference. His research explores the work of those artists who have most emphatically attempted to deal with issues concerning German cultural identity.

Dr Richard Williams was awarded his doctorate by the Courtauld Institiute 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 Tudor England.

Dr Catherine Yvard is currently cataloguing medieval and Renaissance manuscripts for the online Catalogue of Illuminated Manuscripts at the British Library, and has worked previously on the medieval manuscripts collections at the Bodleian Library in Oxford and the Chester Beatty Library in Dublin. She has taught several courses on illuminated manuscripts in the late Middle Ages at Trinity College, Dublin and University College, Dublin. She specialises in the study of late-medieval Books of Hours and is particularly interested in the transition from manuscript to printed, and in the transmission of patterns through time and space..