Academic Year 2006-07
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 (supported by the National Endowment for the Humanities) 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 Elizabeth Bartman into new areas of research such as the Grand Tour, collecting, and the reception of the antique.
Lee Beard is a British Academy Post-Doctoral Research Fellow. 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.
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.
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.
Kathryn Gerry is working towards a doctoral degree in the history of art department at Johns Hopkins University, supervised by Dr Herbert Kessler. She currently holds a pre-doctoral fellowship from the Kress Foundation, and is conducting research at the Courtauld Institute. Her doctoral research concerns the Alexis Quire, a portion of the St Albans Psalter; in her thesis she will address questions as to the original production and function of this quire, before it was joined to the rest of the St Albans Psalter. In addition to her work with manuscripts, Kate's earlier projects have focused on portable arts in the Byzantine Empire, stained glass in France and England, and medieval European pilgrimage.
Matthew Hunter is presently a Whiting Foundation Fellow at the Courtauld Institute, through which he is researching and writing a dissertation on the cultures of visualisation in the early Royal Society of London. Tentatively entitled Robert Hooke Fecit: Making and Knowing in Restoration London, his project focuses upon the activities of the late seventeenth-century polymathic experimentalist Robert Hooke, with particular interest in his inter-related practices of drawing, collecting and building. Having trained in the visual arts himself, Matthew Hunter’s research interests more generally include interfaces of art and science and inter-disciplinary approaches to problems of representation.
Jill Lloyd is a specialist in early 20th-century German and Austrian art. Her book German Expressionism, Primitivism and Modernity was published by Yale University Press in 1991 and awarded the National Art Book Prize. She is currently working on two research projects. First, an in depth study of Vincent Van Gogh's influence on German and Austrian Expressionism which will result in an exhibition (at the Van Gogh Museum, Amsterdam and Neue Galerie, New York) and two scholarly publications. Her biography of the Austrian émigré artist, Marie-Louise von Motesiczky, which is based on extensive archive research, will be published by Yale University Press in 2007. When these two projects come to fruition, Jill Lloyd will begin research on the Swiss artist Ferdinand Hodler in preparation for an exhibition in 2008.
Anna Lovatt recently completed her PhD, entitled Seriality and Systematic Drawing circa 1966-1976, at the Courtauld Institute. Her current research, funded by the Henry Moore Foundation, considers the importance of drawing in New York based sculptural practices of the late 1960s and early 70s. Broader research interests include post-war American art and the relevance of systems and communication theory to post-Minimal and Conceptual practices.
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 Book of the Year by Apollo in 2004 and the Eleanor Tufts Award for Hispanic studies in 2006. His current and future research interests include Italian Chiaroscuro prints, the print collection of Cassiano dal Pozzo, Goya and Spanish drawings.
Professor John Milner [Professor Emeritus, Newcastle University]
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 Levehulme 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 the body, self, sexuality and philosophy in late eighteenth-century and early-nineteenth century French neoclassical art. His research has focused these concerns on the art of Jacques-Louis David. 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 (reading the historical archive, therefore, for its silences and constitutive exclusions). The result of this is a book, Chains. Jacques-Louis David and the Post-Revolutionary Subject, which is to be published by Pennsylvania State University Press in early 2006. Currently, Satish is engaged on three projects: he is researching a paper on David’s early 1787 Death of Socrates, which enquires into the difficult relationship between Socratic ‘care of the self’ and (homo)sexual subjectivity, as they it is articulated for a French ‘enlightened’ audience; he is working on notions of selfhood, desire, amnesia and exile, as they are raised by David’s post-Brussels (post-1815) profoundly ‘de-centred’ art practice; and he is engaged in research into the complex early nineteenth-century sculptural practice of David’s contemporary, Antonio Canova, with a view to producing a monograph on that artist.
‘Crisis? What Crisis?, Art History, Vol. 21, No. 2, June 1998.
‘Sade/ David’, Art History, Vol. 23, No. 3, September 2000.
`The Luminous Body’, Portfolio. The catalogue of contemporary photography in Britain, No. 32, December 2000.
Chains. Jacques-Louis David and the Post-Revolutionary Subject (University Park, Pennsylvania: Pennsylvania State University Press, 2006).
`Shadow of Agency: Derrida, Marx, David’ (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.
Jessica Richardson’s current work (thesis, Courtauld Institute of Art) focuses on the cult and iconography of St Leonard of Noblat (the French, sixth-century patron saint of prisoners) in medieval and early renaissance Italy. St Leonard gained wide popularity in the whole of Italy (and throughout Europe) in the twelfth century and continued to be the focus of an intense devotion. Her research has shown that he was deemed an appropriate saint for the various religious orders (monastic, military and mendicant). She is primarily interested in the creation and recreation of the image of the saint and its reception at specific centres in Italy, which include Venice, Florence, Prato, Lucca, Siena, Assisi, Rome, Foggia (Apulia) and Sessa Aurunca (Campania). A key issue addressed in her work is how the various images of the saint reveal different aspects of his cult: How did the cult of an ‘early’ and ‘foreign’ saint survive and adapt to the changes that were occurring in late medieval sanctity? It what ways do the representations of the saint provide us with information on new demands placed by both institutions and individuals? More generally, her research interests include the ways in which images of saints are used to promote cults and maintain traditions; the significance of dress in images of holy figures; the relationship between representations of saints and other available primary evidence for their cults (e.g., written lives, relics and site dedications); the creation and maintenance of sacred space and the various motivations behind the depictions of saints in medieval and renaissance Europe.
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.
Dr Tomoko Uno of the Japan Center for International Cooperation in Conservation, National Research Institute for Cultural Properties, Tokyo, will be a Temporary Associate Scholar of the Research Forum from 6 November to 1 December 2006. Dr Uno is a specialist in diagnostic enviornmental monitoring, with current projects on the conservation of the wall paintings in Bamiyan (Afghanistan) and Dunhuang (China). She will be undertaking research on the methodology employed by the Conservation of Wall Painting Department, and visiting institutes and sites in England where environmental assessment is ongoing.