The Associate Scholars group is made up of, predominantly, early-career researchers based at The Courtauld in conjunction with distinguished Visiting Professors. Postdoctoral Fellows working on a range of topics and Visiting Lecturers and Visiting Professors teaching courses at The Courtauld form the core membership of this group. The Associate Scholars meet at least once a term giving an opportunity for the members to offer presentations and share knowledge about their research.
The 2007-2008 Associate Scholars are listed below.
Elizabeth Bartman is a specialist in Greek and Roman art. She is presently working on two major projects: a study of ethnic identity in Roman portraiture and of the "ideal" sculpture – images of gods, mythic figures, personifications, etc. as opposed to historical personages – collected by Henry Blundell in the late eighteenth century for his estate at Ince outside Liverpool. The largest private collection ever assembled in Britain, Blundell's statues present a cross-section of Roman decorative sculpture; heavily restored, they are as much a reflection of eighteenth-century art as of ancient. Working with this material has led her into new areas of research such as the Grand Tour, collecting, and the reception of the antique. She was elected First Vice-President of the Archaeological Institute of America in January 2007.
Lee Beard is a Visiting Lecturer at the Courtauld Institute of Art. He completed his PhD, entitled "Modernist Cell" or "Gentle Nest"; Ben Nicholson, Art, Design and the Modern Interior 1924-1939, at the Courtauld in 2003. His current research is a development of themes originating from this project, in particular those concerned with the relationship between modern art and the domestic interior in Britain during the early to mid- twentieth century. Focusing on the period 1919-1959, and working under the title 'Living with Modernism', his aim is to evaluate the many ideologies and strategies that have informed and shaped the interaction between art and notions domesticity in modernist production and display. In May 2007 Lee organised a two-day conference on Ben Nicholson at the Courtauld, and his essay 'Pottery as precedent: Herbert Read and the sculptural form' is published in Re-Reading Read: New Views of Herbert Read (Freedom Press, 2007).
James Boaden's PhD research engages with questions of nostalgia and the pastoral genre in collage, assembled sculpture and experimental film in 1950s America. James has published articles on the subject in the Courtauld Institute's scholarly journal immediations as well as the on-line journal of the AHRC Centre for Surrealism and its Legacies: Papers of Surrealism. James has also conducted freelance curatorial work for the exhibition 'Starting at Zero: Black Mountain College 1933-1957' (Kettle's Yard, Cambridge, 2005) and for the screenings entitled 'Lights Up: American Structural Film' at the National Film Theatre, London in 2006.
John Cherry, who retired as Keeper of Medieval and Modern Europe in the British Museum in 2002, has research interests that include medieval metalwork, seals, jewellery and ivories. He is currently working with Professor John Lowden on a publication of the medieval objects in the Thomson collection, which is to be displayed in the Art Gallery of Ontario, Toronto, from 2008. He has also published many articles on seal and seal matrices, and is currently working on a catalogue of the Rawlinson collection of medieval and post-medieval seal matrices in the Ashmolean Museum, Oxford. Secular iconography on seals and their matrices is a particular interest.
Peter Dent is a British Academy Post-Doctoral Research Fellow. He is currently working on a project entitled 'Sculpture and the Senses in Late Medieval Italy'. This will concentrate on the strategies that Italian sculptors employed in the thirteenth and fourteenth centuries in order to communicate a sense of 'presence'. Beyond the immediate historical contexts for this enquiry, he is also exploring how developments during this period may relate to the long running theoretical debate about the nature of sculpture, in particular its ability to stimulate the sense of touch, in contrast to painting, which is primarily concerned with sight. This interest grew out of research conducted for his PhD, The Body of Christ in Fourteenth-Century Tuscan Sculpture, undertaken at the Courtauld Institute of Art and completed in 2005. More generally, he is interested in the relationships between sculpture and painting.
Caroline Elam's research interests include many areas of Italian renaissance art, architecture and urbanism, as well as the history of art history and criticism since the mid nineteenth century. She is currently completing a book on Roger Fry and Italian Art for Yale University Press, and writing a chapter on 'Art in Lorenzo de' Magnifico's Florence' for a volume on Renaissance Florence to be published by Cambridge University Press. She has recently co-curated and edited the catalogue of an exhibition on Michelangelo's architectural drawings for the Centro Palladiano in Vicenza (closing 10 December 2006) which will move to the Casa Buonarroti, Florence, from 15 December to 19 March 2007. Her next project is a book to be called The Urban Face of Renaissance Florence.
Stefania Gerevini's PhD research concerns issues of artistic portability, importation and reuse in the middle ages. More specifically, it concentrates on the acquisition of Byzantine artefacts in Venice and Siena in the thirteenth and fourteenth centuries, and on the material, functional and symbolic modifications that such objects underwent in the process of their translation from east to west to their new cultures. More broadly interested in artistic exchanges between Byzantium and its neighbouring cultures, she carried out a field project on the reuse of Byzantine spolia in Seljuk religious architecture in Central Turkey as a grantee of the Fondation M. de Montalembert in 2006, and taught at Università L. Bocconi, Milan, a course of Intercultural Studies in 2007. She is currently a Visiting Lecturer at the Courtauld Institute of Art.
Helen Glanville is an independent scholar, researcher and a practicing conservator of paintings, and was a visiting lecturer at the Courtauld until July 2007 on the MA “History and Theory of the Art Museum 1750-present day”. April 2007 saw the publication of her translation of Alessandro Conti’s History of the Conservation and Restoration of Works of Art (Elsevier/Heinemann), which provides the first history of the practice for the English speaking world, as well as a glossary of terms for the non-specialist and an introductory essay on “Relativity and Restoration”. The grey areas between perception and the material aspects of painting, and the sciences linked to perception are a particular field of interest. Glanville’s research on these topics covers a wide historical range, including articles on “Veracity, Verisimilitude and Optics in Italy at the turn of the seventeenth century” (Italian Studies, 2001) and nineteenth century colour theories in Pre-Raphaelite Painting Techniques (Tate Gallery Publications, 2004, ed. Joyce Townsend) looking in particular at Eastlake’s translation of Goethe’s Theory of Colour. Glanville’s research in these areas focuses particularly on texts dealing with visual perception of the arts and aesthetics in relation to the practices and materials in painting from the turn of the seventeenth century to the nineteenth century, and in later translations of these texts (for instance of Leonardo’s Treatise on Painting), as well as the applications of the theories of relativity to the arts (and indeed the philosophy and practice of restoration). Glanville’s most recent publication (in press) is an essay entitled “Cesare Brandi, Newton and the National Gallery”. Another on-going area of research involves trawling through the National Gallery Archives with a view to writing a book on the history of the cleaning controversies at the National Gallery from the 1850s to the present day, from a European perspective.
Teresa Gleadowe was the founding director of the MA programme Curating Contemporary Art at the Royal College of Art and directed the course from 1992 to 2006. During this period the department pioneered research into relationships between contemporary art and curatorial practice and developed a series of ambitious international art exhibitions selected and curated by students on the course. Teresa Gleadowe is now continuing her research into aspects of recent curatorial history and is Commissioning Editor for a new series of books, which will provide a historical study and critical appraisal of significant exhibitions of contemporary art in the period from the mid-twentieth century to the present.
Linda Goddard is a British Academy Postdoctoral Research Fellow. Her research focuses on the relationship between painting and literature, as well as art criticism and artists' writings in nineteenth- and early twentieth-century France. She completed her PhD, Aesthetic Hierarchies: interchange and rivalry between the visual arts and literature in France, c.1890-c.1920 at the Courtauld in 2004, and has since taught at the Courtauld and the University of Cambridge. She is currently researching the writings of Paul Gauguin in the context of interdisciplinary tension and interaction in fin-de-siècle France. She has published two articles, 'Birds of a Feather? Gauguin's ambivalent relationship with literary symbolism', immediations: the research journal of the Courtauld Institute of Art, 2005 and 'Mallarmé, Picasso and the aesthetic of the newspaper', Word & Image, October-December 2006, and co-edited the exhibition catalogue Literary Circles: artist, author, word and image in Britain, 1800-1920, Fitzwilliam Museum, Cambridge, 2006.
Melena Hope is currently working towards a doctoral degree at the Courtauld Institute of Art. Her research concerns the iconographical content and function of painted chapels and oratories in the households of fifteenth-century France. While her specific interests centre around religious wall paintings in domestic settings, she is more broadly interested in the function and audience of 'private' devotional artworks, the relationship between artworks of different media (especially the interplay between works of art and their architectural settings), the working methods of artists in this period, and artistic culture in Northern Europe in the fifteenth century. In addition to her research, she is a Visiting Lecturer at the Courtauld and a Sessional Lecturer at Birkbeck College.
Matthew Hunter is a Visiting Lecturer at the Courtauld Institute of Art. He received his PhD from the University of Chicago in August 2007, writing a dissertation entitled "Robert Hooke Fecit: Making and Knowing in Restoration London." His research interests include early modern art and architecture, representation in art and science, and theories of artistic community. He is currently preparing publications on the work and thought of Robert Hooke, while editing a collection of essays on representation in interdisciplinary perspective. His recent publications include "Iconoclasm and Consumption; or, Household Management According to Thomas Cromwell," in Iconoclasm: Contested Images, Contested Terms (Ashgate, 2007).
Pascal Labreuche is an independent painting conservator and researcher in history of technology; specialising in the study of artists' suppliers in the nineteenth century, French canvas makers, and the history of invention in the field of artists paintings supports. He completed his PhD in history of science and technology, entitled Commercially primed artists canvases in Paris, 1793-1867. The industrialization of a procedure involving tradition and innovation, at the Université de Nantes (France) in 2005. As fellow of the Caroline Villers Research Fellowship at the Courtauld Institute of Art, he is currently focusing his research on the comparison of the invention movement between the UK, France and USA during the nineteenth century, especially through the study of patents, trademarks, and archives and documents related to paintings supports.
Mark McDonald is Curator of Old Master prints and Spanish drawings at the British Museum. His research interest include sixteenth and seventeenth century Spanish art, and European printmaking during the Renaissance. His recent publication The Print Collection of Ferdinand Columbus 1488-1539: a Renaissance collector in Seville was awarded the Mitchell Prize for Art History, the Eleanor Tufts Award for Hispanic studies in 2006, and named the Book of the Year by Apollo in 2004. His current and future research interests include Italian Chiaroscuro prints, the print collection of Cassiano dal Pozzo, Goya and Spanish drawings.
Antigoni Memou is a Visiting Lecturer at the Courtauld Institute of Art. She is currently completing her PhD thesis, entitled From the Globalisation of the Movement (1968) to the Movement Against Globalisation (2001): Social Movements, Photography, Representation in the Late Twentieth Century. Her research focuses on the circulation of photographs of these movements in established institutions, mainstream mass media and the movements themselves and examines the function of photography in a complex system of transmission of political ideas. Her broader research interests include contemporary art, history and theory of photography, the relationship of aesthetics to politics, and more specifically issues of globalisation, alternative media and Internet activism.
Charlie Miller is Visiting Lecturer at the Courtauld, from which he received his PhD in 2006 for The Ambivalent Eye: Picasso 1925-1933. From 2005 to 2007 he was research fellow at the AHRC Research Centre for Studies of Surrealism and its Legacies, University of Essex. He published three pieces, 'Apocalypse', 'Archaeology' and 'Pablo Picasso', in Ades and Baker, eds., Undercover Surrealism: Georges Bataille and DOCUMENTS (Hayward Gallery and MIT Press, 2006), winner of the Art Newspaper & AXA Art Exhibition Catalogue Award. He is editor of 'The Use-Value of Documents', a special issue of the Papers of Surrealism (Autumn 2007), to which he has contributed a critical 'Introduction', an article entitled 'Bataille with Picasso: Crucifixion and Apocalypse', and a translation of an essay by Georges Didi-Huberman. His general research areas are the production and reception of Picasso, and the history and theory of the avant-garde. He is working on articles and a book about Picasso and surrealism. A second book project concerns avant-garde (ab)uses of history.
John Milner is Professor Emeritus at Newcastle University. His current research activities include:
1. The interaction of Russian Futurists and Italian Futurists. Russian Futurist writers and painters responded immediately to Italian futurist manifestos, and to works seen, and heard, in Paris and in Italy. Yet at the same time they were eager to assert their own distinctive interests, priorities, and independent identity. The result is a rich relationship and critique that in Russia contributed to the development of Revolutionary futurism and to quite different collaborations among émigré futurists outside Russia. This research will be manifest as an exhibition at the Estorick Collection, London, scheduled for March 2007.
2. Research into the origins of Museums of Modern Art, especially in Europe. This has been supported by Leverhulme research leave and associated travel has been supported by the British Academy.
3. Critical Essay on artists' texts aimed at effecting social change in the period 1870 - 1917.
Dr Alexandra Moschovi's research has concentrated on the institutionalisation of photography in the 1980s and 1990s, exploring how its belated accommodation in the modern/contemporary art museum ushered in an ontological reassessment not only of its properties as a fine art practice, but also of the museum's foundational values. Her research interests also include British and American cultural policies and issues relating to contemporary politics of representation. Recent curatorial projects have focused on the fusion of the private into the public and the changing morpheme of the post-industrial landscape in contemporary photographic practice. She is currently working on the recontextualisation of nineteenth-century photographs in various institutions, examining their collecting and taxonomic biography and how their use and exhibition value has changed.
Satish Padiyar's interest is in the interrelations between art and the body, self, sexuality and philosophy. His research has focussed these concerns on the late-eighteenth and early-nineteenth century art of Jacques-Louis David and Antonio Canova. Specifically, he attempts to read David's painting in relation to contemporary post-structuralist theories of the subject and sexuality (for example, the philosophical work of Jacques Lacan and Judith Butler); as well as in relation to recent queer and gay methodologies (therefore reading the historical archive for its silences and constitutive exclusions). The result of this is a book, published in 2007, Chains. David, Canova and the Fall of the Public Hero in Postrevolutionary France. Currently, he is engaged on two projects: a monograph on the complex early-nineteenth century sculptural practice of Antonio Canova; and a study of history painting, self and philosophical notions of freedom from Courbet to Picasso.
Gavin Parkinson completed his PhD at the Courtauld in 2000 and taught subsequently at the Courtauld, Birkbeck College, and the University of Oxford. He specialises in Surrealist art and thought, the interfaces between art and science, and questions of interpretation in art history with particular reference to Marcel Duchamp and Postmodernism. He has published essays, articles, and book reviews on Surrealism and modern physics, Marcel Duchamp, and Adolf Wölfli. In 2008, he will publish three books: Surrealism, Art, and Modern Science with Yale University Press; The Duchamp Book with Tate Publishing; and a collection of his writings on aspects of Surrealism for Oneworld Publications. He is currently at work on a project that goes under the onerous title, Metafictional Historiography of Art.
Edward Payne is a third-year PhD student and Visiting Lecturer at the Courtauld. His research focuses on seventeenth-century Spanish and Neapolitan painting, prints and drawings, with particular reference to the works of Jusepe de Ribera (1591-1652). He is currently writing his doctoral thesis on violence and corporality in the art of Ribera, and organising with Scott Nethersole a symposium entitled Histories of Violence: Italy and the Mediterranean c.1300-1700. Additionally, Edward is working with Dr Zahira Véliz on a catalogue raisonné of Spanish drawings from the Courtauld collection, and he has submitted an article to immediations which examines an intriguing caricature by Pier Francesco Mola (1612-66), also located in the Courtauld Gallery.
Andreas Puth is currently a Visiting Lecturer at the Courtauld, teaching English and French Gothic architecture. He is interested in medieval architecture across Europe and has investigated fourteenth-century buildings in the Holy Roman Empire as settings for public imagery in urban contexts. Two articles on representations of the emperor and the seven electors on the trade hall in Mainz and the ruler imagery of Emperor Charles IV on the main parish church at Muhlhausen are in the press. Currently, he is completing his PhD thesis, Imitatio Caroli, Imitatio Rudolphi? Reconsidering Habsburg dynastic representation c. 1360 to c. 1490. This looks at the visual strategies employed in various media by a "new" dynasty in fourteenth- and fifteenth-century Central Europe in order to foster an own identity and to advance its political ambitions. The thesis attempts to locate Habsburg ruler imagery in a pan-European context, employing methodological revisions such as the questioning of the concept of 'court art' not yet sufficiently applied to Central European ruler patronage, and challenging the art-historical model of imitatio which has traditionally focused on the model allegedly provided for the Habsburgs by Charles IV and the court art and architecture he inspired in Prague. Publication of a conference paper on these issues is also forthcoming.
As the first Caroline Villers Research Fellow Elisabeth Reissner will be studying Cézanne from the perspective of technical art history. She will be investigating the materials and techniques and historical context of the nine Cézanne works in the Courtauld Collections. This will include the ways in which he constructed his images. She will be collaborating with the National Gallery, so that inclusion in the project of their Cézannes will ensure a comprehensive range of his works in the study. The study will both situate Cézanne within, and contribute to, the growing body of research into the studio practice, materials and techniques in the second half of the 19th century in France.
Clare Richardson is a Paul Mellon fellow in the Department of Conservation and Technology. Over the past three years Clare has focused on the work of Victorian painters, exploring their methods and materials, with a particular focus on the work of Rebecca Orpen, a prolific amateur painter. Through an ongoing collaboration with the National Trust, Clare has examined the large collection of Rebecca's paintings in the collection of Baddesley Clinton house. Clare is now exploring the work of William Etty RA, examining paintings from Anglesey Abbey (National Trust), and collaborating with colleagues at Tate and Manchester Art Gallery.
Kate Stonor is a conservator with a special interest in the technical study of paintings with a view to illuminating artistic practice. Her current research is based on British paintings in the Courtauld Gallery Collection and she is undertaking studies on both modern painters, such as Walter Richard Sickert, and Stuart painters, including Sir Peter Lely. Along with her colleague, Clare Richardson, Kate is hoping to create an online database of colourmen's stamps. This would aid both conservators and art historians to identify the markings left by artists' suppliers on the reverse of paintings and give a specific date range for the production of the support. It is hoped that this database would build into a large reference collection, allowing people to search by artist or artistic group to look at patterns of use for types of support and artists' supplier.
Achim Timmermann (PhD, Courtauld Institute of Art, 1996) is Assistant Professor at the University of Michigan in Ann Arbor as well as the current Kress Fellow at the Warburg Institute in London, and specializes in late medieval art and architecture of northern and central Europe. His scholarly interests include Gothic architecture, the visual culture of the eucharist, and the representation of Christian-Jewish relationships in medieval art. His most recent publications have focused on didactic and moralizing imagery, and the role of monuments and images in the performance of late medieval and early modern rituals of criminal punishment.
Zahira Véliz has published frequently on the subject of Spanish drawings, especially the work of Alonso Cano. She has organised exhibitions at the Museo del Prado, Madrid and at the Museo de Bellas Artes de Asturias, Oviedo, Spain. In 2006 she organised a Wallace Collection exhibition focusing on Lady with a Fan by Velázquez, together with the variant from Chatsworth. Trained originally as an art conservator, she has contributed many articles to the literature of technical art history, and in 1986 she published Artists’ Treatises in Golden Age Spain (Cambridge University Press). She has written numerous articles and lectured widely on Spanish art in the early modern era, and, as a member of the Centro de Estudios de Europa Hispánica (Madrid) is currently cataloguing the Spanish drawings in the collection of the Courtauld Institute, and working on the reconstruction of William Stirling-Maxwell’s drawings collection.
Rose Walker is a specialist in medieval Spanish art. She is currently working on a project that focuses on the interaction between culture and landscape. The British Academy is funding four field trips that constitute the first phase of this project. Each trip takes one of the principal Roman roads that crossed the Iberian peninsula and seeks alternative narratives to 'the pilgrimage route' and 'the re-conquest'. These narratives are revealed through diversions, detours and changes of direction that together demonstrate a new sense of belonging amongst the people who settled and built on new and old sites. A photographic record of the routes and of the art and architecture that defined them is an important part of the project.
Giles Waterfield is an independent curator and writer, Associate Scholar at the Courtauld Institute of Art and Director of Royal Collection Studies. He taught the Courtauld's M.A. in the History and Theory of The Art Museum, and has worked as Head of Education at the Royal Pavilion, Art Gallery and Museums and as Director of Dulwich Picture Gallery from 1979 to 1996. He was joint curator of the exhibition Art Treasures of England at the Royal Academy of Arts in 1998, In Celebration: The Art of the Country House at the Tate Gallery in 1998 and Below Stairs, National Portrait Galleries, London and Edinburgh, in 2003-4. He is an authority on the history of museums and his publications include: Palaces of Art, Art for the People and Soane and Death, as well as three novels. He is a member of the Advisory Committee of the Paul Mellon Centre for Studies in British Art, a Vice-President of NADFAS and Trustee of Charleston, Sussex.
Rachel Wells is a Henry Moore Foundation Post-Doctoral Research Fellow. She is currently extending her PhD thesis on scale in contemporary sculpture in order to publish this research. Evaluating the relationship between Postmodernism and the trend of enlargements, miniaturisations and life-size sculptures made since the 1990s, the research also encompasses the photographic reproduction of this work.