The Courtauld Institute of Art is the foremost centre in Britain for the study of art history and of conservation and enjoys an international reputation. Our short courses, tours and lectures are led by eminent specialist art historians and curators.
Contact us at:
The Courtauld Institute of Art
London WC2R 0RN
Tel: 0044 (0)20 7848 2678
Fax: 0044 (0)20 7848 2901
The world-famous Courtauld Gallery collections range from the thirteenth century to the present day. Best known for its outstanding collection of Impressionist and Post-Impressionist art, the Gallery also includes medieval ivories, 14th-century gold ground paintings, Italian Renaissance paintings and wedding chests, beautiful examples of the work of Lucas Cranach and Pieter Bruegel, and a significant collection of paintings and drawings by Pieter Paul Rubens, as well as sketches and paintings by Tiepolo, Goya and Gainsborough. Moving into the 20th century, the Gallery has an important collection of Fauve and German Expressionist paintings on long-term loan, and owns works by Walter Sickert, Ben Nicholson, Graham Sutherland, Anthony Caro and Richard Long.
Significant examples of paintings and decorative art by Roger Fry and his circle, the Bloomsbury group, will be showcased from mid-February to mid-September 2017. Further into the future, plans are being developed for a major refurbishment and transformation of The Courtauld’s home at Somerset House.
The project, called Courtauld Connects, will include the development of state-of-the-art learning and teaching facilities. Further information can be found at www.courtauld.ac.uk/courtauldconnects
Class size, teaching methods and learning resources
The courses have limited numbers, with groups kept to a maximum of 16 and, in some cases, 15 students.
Classes are held in The Courtauld Institute of Art seminar and teaching rooms, in the lecture theatre and in front of works of art in museum and gallery collections and at monuments in London and beyond.
The courses focus intensively on a range of topics that examine broad themes from ancient to contemporary art, combined with the close study of individual objects. They involve lectures, visits to galleries, museums and buildings, often with privileged access to collections. No written work is set although there is suggested pre-course reading. The classes offer plenty of opportunity for discussion.
All Summer School and Study Tour teaching is conducted in English. A good command of the language is necessary to follow the lectures, seminars and visits and to benefit from written course materials.
Since 2013 we have made space available on our Virtual Learning Environment (VLE) to short courses students taking the Spring and Autumn Courses, Summer School, and our evening lecture series; this is now also extended to those attending Study Tours. The VLE will contain a range of learning resources, such as reading lists, glossaries and historical summaries, selected texts for advance or future reading, and lists of useful websites. The quantity and nature of this material will vary from tutor to tutor and we cannot foresee what will be available for each course. Some tutors may upload powerpoints of their talks, but others may not wish to, or may not be able to provide these owing to copyright issues with some images and/or the unpublished nature of ongoing research. For these reasons we cannot record lectures and seminars and we ask students not to use recording devices themselves.
Gallery and library access, and other special benefits
The courses have limited numbers, with groups kept to a maximum of 16 and, in some cases, 15 students. They are taught by Courtauld staff and other specially chosen experts in their fields. Students are encouraged to make use of The Courtauld Gallery and of The Courtauld’s other unique facilities.
During Summer School, all students have access to the Book Library. The Book Library staff have kindly offered to give two brief induction sessions to our students on Mondays, and to open from the earlier time of 9.30 am during Summer School, so that participants have a chance to consult the library before the start of classes at 10.00am, and after classes until 17.30 pm. Summer School students are further welcome to use the library for reference after the end of the summer term, from 29 June and in September before the beginning of the new academic year, during which the library will be open Monday – Friday, 10.30-17.30. Please note that the library is closed for stock-taking from 7 August to 1 September 2017.
While on a course students have full access to The Courtauld Gallery during opening hours. Monday afternoons are particularly designed to give you an opportunity to get to know our Gallery in depth: Courtauld postgraduate students will offer a choice of 45-minute gallery talks on selected aspects of the collections, after which Summer School participants are invited to explore the Gallery further until it closes at 18.00.
At the end of each week of courses there is a plenary lecture given by an eminent guest speaker in The Kenneth Clark Lecture Theatre at The Courtauld. Following the lecture there is a farewell party, which takes place either in the Institute or, on one occasion during July, in The Courtauld Gallery. Summer School students are invited to attend all the plenary lectures and parties and may also bring a guest to both events at no extra charge.
Any student who attends either four Summer School courses in one year or six courses over three years is eligible for a Short Courses Certificate, signed by the Director. Certificates are made out in September after Summer School and will be posted to your home address. If you would like us to mark your achievement in this way, please send a note – by e-mail or in person – to Jackie Sullivan at email@example.com by 1 September, with details of the courses you have attended.
Summer School courses are non-residential, however, The Courtauld has rooms available at our Duchy House student residence throughout the period from Friday 7 July to Sunday 17 September inclusive.
To check availability or to make a booking, you can search our rooms through our airbnb pages.
Duchy House is located on the Strand less than 150 metres from The Courtauld and has the following features:
- En-suite study rooms on 4 floors with internet access included
- A lift from the ground floor landing to all floors
- Furnished kitchens for self-catering with some crockery and cutlery
- Bedding and linen provided for all guests with a weekly linen change
- Bedroom cleaning by our housekeeping staff
- Secure swipe card access and 24 hour CCTV coverage within the building
- Management via Courtauld Accommodation staff on call 24 hours a day
For all enquiries regarding Duchy House, please contact the Accommodation and Bookings Officer via +44 (0) 20 7848 2782 or via firstname.lastname@example.org
Advice for students with reduced mobility
The Courtauld Institute of Art boasts a unique and atmospheric location in the Grade 1 listed, historical building of Somerset House. However, because of its setting, The Courtauld currently does not have full disabled access to all of its study areas. Most of the teaching rooms are accessible to those with mobility issues but others, such as the Conservation Studios where part of the ‘Introduction to Art History’ course will be taught, unfortunately are not. There are a number of steep staircases to be negotiated. While all courses go on visits outside The Courtauld, courses 2, 13, 24 and 28 include more extended walks. There are a couple of steps also to The Courtauld Gallery Print Room, where aspects of the ‘Introduction to Art History’, and of Summer School courses 4, 6, 10, 14, 22, 23 and 26 are taught. Other lecturers may also decide to visit the Courtauld’s print room, or include extended walks into their course outlines nearer the time and we will alert all prospective students as soon as we have this information.
Please note that we may not be able to accommodate any access requirements unless you communicate these clearly at the time of booking. Therefore, please inform us as soon as possible and at least a month in advance of the course if you require a fully accessible teaching space. And where possible, apart from the ‘Introduction to Art History’, which cannot be relocated, and Summer School courses 4, 6, 10, 14, 22, 23 and 26, which make use of The Courtauld Gallery Print Room, we will strive to arrange it.
Please also bear in mind that all Summer School courses include visits to museums, galleries and other sites within London, its surroundings or nearby cities and therefore a certain degree of physical activity. Likewise, all Study Tours require a fair amount of walking and getting around towns and sites, in some circumstances on uneven or otherwise difficult terrain.
If you have any doubts whether a particular course or tour is suitable for you, please contact us for further information.
Dr Sussan Babaie is Reader in the Arts of Iran and Islam at The Courtauld. She has taught widely including at the University of Michigan and the Ludwig-Maximilian University in Munich. She is the author of Persian Kingship and Architecture: Strategies of Power in Iran from the Achaemenids to the Pahlavis (2014), Shirin Neshat (2013), Isfahan and Its Palaces: Statecraft, Shi‘ism and the Architecture of Conviviality in Early Modern Iran (2008), Slaves of the Shah: New Elites of Safavid Iran (2004), Persian Drawings in the Metropolitan Museum of Art (1989), and of numerous articles.
Dr Thomas Balfe is an art historian specialising in early modern (c.1550–c.1750) Flemish easel painting and graphic art. To date his research has focused on seventeenth-century animal, hunting and food still life imagery. He received his MA (2009) and PhD (2014) from The Courtauld, where he has worked as a Visiting Lecturer since 2010. He has also taught for Warwick University and the City & Guilds London Art School. Currently he is preparing parts of his PhD for publication.
Janine Catalano is an art and food historian and curator 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. She has worked for The Courtauld and the Royal Academy and currently works at City & Guilds of London Art School.
Dr Mehreen Chida-Razvi is a Research Associate in the Department of the History of Art at SOAS, and a specialist on the art and architecture of Mughal South Asia. She has lectured on Islamic and Indo-Islamic Art at several institutions of higher education in London and Oxford, and has also participated in and been an academic consultant for a documentary on the Taj Mahal. Publications include journal articles and book chapters on Mughal architecture and painting, and European views of the Mughal Empire. She is currently writing a book on the patronage and production of the Mughal Emperor Jahangir’s mausoleum.
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 was 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. His many acclaimed books include Michael Craig-Martin (2006); Wild Thing: Epstein, Gaudier-Brzeska, Gill (2009), and a pioneering history of western art in hospitals, The Healing Presence of Art (2012). His latest book, Face to Face: Interviews with Artists was published in 2015.
Dr Charlotte De Mille curates the music programme for The Courtauld Gallery. With the Courtauld’s Public Programmes department, she co-authored the acclaimed museum learning programme ‘Animating Art History’, a joint initiative with Central St Martin’s and the University of the Creative Arts. A Courtauld alumna (PhD 2009), she has taught at The Courtauld and at the Universities of Sussex, of St Andrews, and of Bristol, where she is Honorary Research Associate. Charlotte is editor of Music and Modernism (2011), co-editor of Bergson and the Art of Immanence (2013), and has contributed to several books and journals.
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 seventeenth- and eighteenth-century art collecting. She has taught at the University of Rome and published numerous articles as well as a book, Cardinal Giovan Battista Spinola and Baciccio (2007); her monograph on the Neapolitan artist Andrea De Leone is forthcoming in 2016. Miriam worked as a consultant in Old Master Paintings at Sotheby’s and now co-owns the internationally represented Galleria Giacometti OMP, Rome.
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 Barbara Furlotti is an Associate Lecturer at The Courtauld Institute of Art. She completed her PhD at Queen Mary University, London, in 2009. In 2009-2010, she held a post-doctoral fellowship at the Getty Research Institute in Los Angeles, where she was involved in the research project The Display of Art in Roman Palaces, 1550-1750. In 2012-2015, she was a Marie Curie Fellow of the Gerda Henkel Stiftung at the Warburg Institute, where she worked on her book project on the market for antiquities in sixteenth-century Rome. She has published extensively on the history of collecting.
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 Sabancı University, Istanbul. Antonia is 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. Her publications have focused on cultural and diplomatic exchange between Italy and the Ottomans.
Dr Kate Grandjouan has a PhD from The Courtauld (2010) where she subsequently taught eighteenth-century British art. Since 2013, she has been an independent scholar. Kate is currently based in Tel Aviv while her husband completes a mission for the French government. Supported by a Post-Doctoral Fellowship from the Paul Mellon Centre for Studies in British Art, she is working on a book from her PhD thesis: ‘Graphic Satire and National Identity: Anglo-French Satires, c. 1688-1815’. For her publications of scholarly articles, book reviews in Eighteenth-Century Studies and reviews for the British Society of Eighteenth-Century Studies, see kgrandjouan.wordpress.com
Professor James Hall is Research Professor at the Winchester School of Art, University of Southampton. 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 has written 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 prize-winning book, The Self-Portrait: A Cultural History (2014) has been translated into five languages.
Dr Katie Hill is Programme Director of the MA in Modern and Contemporary Asian Art at Sotheby’s Institute of Art, London. She has lectured extensively and worked closely with a number of contemporary Chinese artists as a curator and writer, conducting the ‘In Conversation’ with Ai Weiwei for his Sunflower Seeds installation at Tate Modern (2010). She is deputy editor of the Journal of Contemporary Chinese Art (JCCA), and co-author of The Chinese Art Book (2013). Her forthcoming projects include two published essays on the performance duo Mad For Real and curating a group exhibition of British-based artists in the Deji Museum, Nanjing for 2017, entitled Never So Far Away.
Dr Nicola Jennings has an MA and a PhD from The Courtauld, where she is currently an Associate Lecturer, while also working as Curatorial and Research Associate at Colnaghi, London. She previously held positions at the National Gallery and at City University, London. Nicola is a specialist in late-Gothic Spanish art, with a particular research interest in the connections between immigrant French and Flemish and local Spanish artists in fifteenth-century Iberia, and in the works they produced for prominent converts from Judaism. Her writings include a contribution to a monograph on Lorenzo Mercadante and she is currently preparing parts of her thesis for publication.
Dr Lucy Jessop studied at the University of Reading (BA) and at The Courtauld (MA and PhD). She has taught widely on aspects of British post-medieval architecture, for several parts of the University of London, Oxford, Leicester and Reading universities. Lucy is a Senior Investigator with Historic England’s Research Group in York. Her book on the vernacular buildings of Alston Moor, in the North Pennines, was published in 2013. She is currently advising colleagues on country house design and other architectural matters, as well as working on projects concerning military buildings in North Yorkshire and the English seafront.
Dr Susan Jones is a Lecturer in Northern Renaissance at The Courtauld. From 2014-16, she worked on a research and documentation project on paintings by Van Eyck at the Royal Institute for Cultural Heritage in Brussels. Before completing her PhD at The Courtauld (1998), Susan was Assistant Curator at the National Gallery, London (1994-1996); she was subsequently Old Master Society Fellow in the Department of European Painting at The Art Institute of Chicago. Susan has published widely on Jan van Eyck and Netherlandish painting and is a co-author of the Collection catalogue Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago (2008).
Zehra Jumabhoy is a writer and art historian specializing in modern and contemporary South Asian art. She was the Steven and Elena Heinz Scholar at The Courtauld, where she recently submitted her PhD on Indian art and nationalism. In India, she was editor of Time Out Mumbai’s Visual Art section and subsequently Assistant Editor at ART India. Her book, The Empire Strikes Back: Indian Art Today, was published by Random House (2010). She is a regular contributor to Artforum International and London Correspondent for ART India. She lectures at Sotheby’s Institute of Art and The Courtauld, where she also co-organises the seminar series Contemporaneity in South 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 and from 2007 to 2015 was the exhibitions curator at Sir John Soane’s Museum where he curated some thirty shows. He is currently curator of collections at Kenwood, London. His publications include George Scharf: From the Regency Street to the Modern Metropolis, Stadia: Sport and Vision in Architecture and Peace Breaks Out! London and Paris in the Summer of 1814.
Dr Ayla Lepine studied theology at Oxford before obtaining her MA (2005) and PhD (2011) at The Courtauld. Her current research explores medievalism’s impact on modern cities in Britain and America. She held postdoctoral fellowships at The Courtauld and at Yale’s Institute of Sacred Music (2012-13) and has taught at King’s College London, the Victoria and Albert Museum, Warwick and Nottingham. Ayla is a Visiting Fellow in Art History at the University of Essex, co-editor of the book series Religion, Architecture and Visual Culture, a Contributing Historian for the Architectural Review, and the Art and Culture Editor for Marginalia Review of Books.
Dr Caroline Levitt is Visiting Lecturer and Associate Scholar at The Courtauld, where she obtained her PhD in 2008. She specialises in late nineteenth- and early-twentieth-century French art and literature, with particular research interests in Surrealism, in relationships between text and image and in artists also working in media such as tapestry, ceramics and stained glass. She has written various articles and contributed to books including Phaidon’s The Art Museum (2011) and Art in Time (2014). She is working on a monograph about artists who have owned books and drawn over them, in the context of a history of the avant-garde.
Nicola Moorby is an independent art historian specialising in British art of the nineteenth and early twentieth centuries. She has a BA from the University of York and an MA from Birkbeck College, London and was formerly a curator and researcher at Tate Britain. In addition to curating a number of exhibitions and publishing widely on J.M.W.Turner, she is co-editor and author of How to Paint Like Turner (Tate Publishing 2010) and is a main contributor to the Tate’s online catalogue of the Turner Bequest. She is an experienced lecturer and is NADFAS accredited.
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 obtained his PhD at The Courtauld, where he has been Lecturer in Italian Renaissance Art since 2010. He curated the exhibition Devotion by Design: Italian Altarpieces before 1500 at the National Gallery in 2011 and is currently completing a book entitled Art and Violence in Early Renaissance Florence. His research frequently focuses on the style and materials of sculpture.
Dr Geoffrey Nuttall is Associate Lecturer at The Courtauld . He also teaches at the Victoria and Albert Museum and is an experienced study tour leader. His doctorate from The Courtauld investigated Lucchese patronage across Europe between 1370 and 1430. He has published articles and book chapters about Lucca and is currently preparing his thesis for publication. He has been a fellow at the Huntington Library in San Marino, California and in 2017 will be a scholar in residence at the Dutch Institute for the History of Art in Florence.
Dr Lois Oliver studied at Cambridge University and The Courtauld, writing her doctoral thesis on ‘The Image of the Artist, Paris 1815-1855’. She has worked as a curator at the Victoria and Albert Museum and the National Gallery, organising a series of exhibitions, including Rebels and Martyrs: the Image of the Artist in the Nineteenth Century (2006). Currently Associate Professor in Art History at the University of Notre Dame (USA) in London, and Visiting Lecturer at The Courtauld, she writes audio and multimedia tours for clients including the National Gallery, Royal Academy and Tate, and has appeared on TV for the BBC and Channel 5.
Dr 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 currently lectures part-time at NYU London and for the London School of Architecture. 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.
Dr John Renner is an Associate Lecturer at The Courtauld, teaching Italian art of the late Middle Ages and early Renaissance. His research focuses on the art of the Franciscans in Italy – the subject of his PhD thesis at The Courtauld. John returned to academia after spending a number of years pursuing a career in journalism and broadcasting with the BBC World Service. John is also a Visiting Lecturer on the Victoria and Albert Museum’s adult learning courses. In 2011 he was awarded a research fellowship at the Dutch Institute for the History of Art in Florence.
Dr Tim Satterthwaite graduated in English from the University of Oxford, and went on to develop a successful career as an editor, writer and theatre director, before taking an MA in art history at the University of Sussex (2009). He completed his PhD at The Courtauld in 2015, writing on European photo-illustrated magazines of the 1920s. He is currently a visiting lecturer at the University of Brighton and University of Chichester, and is publishing his research in a series of articles. His first book, The Patterned World, will be published in 2018.
Dr Anita Sganzerla completed her PhD at The Courtauld in 2014, specializing in seventeenth-century Italian painting and graphic arts. She previously received a BA in Media Studies from the Università Cattolica, Milan (2005), a Graduate Diploma (2008) and an MA (2009) from The Courtauld. Her doctoral research was supported by several grants including a Rome Scholarship from The British School at Rome. Anita recently co-edited the volume I Pittori del Dissenso (Rome 2014), and assisted Florian Härb in the preparation of The Drawings of Giorgio Vasari (1511-1574) (Rome 2015). She is currently an Associate Lecturer at The Courtauld.
Niccola Shearman has a background in German studies and teaching. She gained her MA at The Courtauld in 2007 and is currently completing a PhD on the art of woodcut in Germany during the Weimar Republic. Specialising in German and Austrian art and ideas of the early twentieth century, her interest in the psychology of vision is reflected in recently published essays on the making and viewing of works on paper. She is an Associate Lecturer at The Courtauld and a regular contributor to Gallery learning programmes.
Dr Rachel Sloan is Assistant Curator of Works on Paper at the Courtauld Gallery. She earned her PhD from The Courtauld 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. Exhibitions she has curated at The Courtauld Gallery include Regarding Trees (2016) and A Dialogue with Nature: Romantic Landscapes from Britain and Germany and Master Prints from the Courtauld Collection (both 2014).
Professor Frances Spalding is an art historian, critic and biographer, with a specialist interest in twentieth-century British art. She became the Professor of Art History at Newcastle, where she taught from 2000-2015, and, after a year as Editor of The Burlington Magazine, is now Fellow of Clare Hall, Cambridge. She established her reputation with Roger Fry: Art and Life (1980) and her art-historical writings include lives of Vanessa Bell, John Minton, Duncan Grant, Gwen Raverat and John and Myfanwy Piper, the survey British Art since 1900, a centenary history of Tate, and books on Whistler, Prunella Clough and the Bloomsbury Group.
MaryAnne Stevens is a historian of 18th– early 20th-century art, with particular research interests in the arts of Britain, France and the Nordic countries. Following a career in the academic world, she joined London’s Royal Academy of Arts as Director of Academic Affairs, establishing the Learning Department and Architecture programme, professionalising the Collections, Library and Archive and serving as Acting Secretary (2005-2008). She curated numerous major exhibitions, including Vilhelm Hammershøi: The Poetry of Silence (2008). Since 2013, she has been an independent art historian and curator; her most recent exhibition was Nikolai Astrup: Painting Norway (London, Oslo, Emden, 2016-2017).
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 thesis on medieval book illustration. Matthias teaches interdisciplinary seminars on medieval and Renaissance art, as well as courses on modern art at the Freie Universität Berlin, the Universität der Künste Berlin and the Universität Münster. He currently researches the principles of visualisation in art and science.
Fees and Booking
The fee for all courses in the Summer School is £555. Our course fees have remained more or less static for the last 10 years. This year we have had to increase fees in order to meet increasing costs. The new fees will enable us to ensure that we can continue to provide an intense educational experience led by highly respected academics.
The Summer School Course fee includes expert tuition, all admission charges to temporary exhibitions and permanent collections, the cost of group travel for half- or full-day excursions outside Greater London, and considerable print-room and handling-session charges where appropriate. Also included is tea and coffee twice each day, refreshments on Monday and a party on Friday, a Courtauld Gallery tour and free access to the Gallery all week, a library tour and free use of the library while on a course, and during the summer holidays. Not included is travel to and from The Courtauld and to destinations within Greater London.
Any income generated by the Short Courses is used to support the work of The Courtauld Institute of Art in order to advance the study of art history and conservation.
Tour fees for 2017 are: £275 for 2 days, £410 for 3 days and £545 for 4 days. The fee includes tuition, entry to all museum and sites, and transport between sites in the respective destination or between destinations in the case of tours that visit more than one town or city. It does not include travel to and from the city/main destination of the tour, or accommodation: students are free to make their own arrangements. Study Tours are limited to a maximum of 12 students.
PAYMENT OF FEES
Full payment is due at the time of booking; we strongly advise booking early as the courses and tours are very popular. Please use the booking forms provided; these can also be downloaded from The Courtauld’s website.
Gift vouchers for all Courtauld Short Courses/Tours are available on request should you wish to make a gift to someone; they make an unusual and memorable present.
CANCELLATION POLICY – SUMMER SCHOOL AND STUDY TOURS
If you need to cancel your place, we will refund the full fee (minus a £40 cancellation charge) provided that you cancel at least 8 weeks before the course/tour commences. If you have to cancel after that date but more than 4 weeks before the start of the course/tour, we will refund 50% of the course fee. For cancellations less than 4 weeks prior to the start of the course/tour, no refund will be payable.
We do whatever we can to ensure that the courses/tours take place as advertised but we reserve the right to make changes or cancellations. In the unlikely event that we cancel any course or tour we will offer you full repayment of your fee.
Unforeseen circumstances may force you to curtail or cancel your trip to London. We strongly recommend that visitors to London take out travel insurance to cover resulting expenses or those incurred due to lost or stolen property.
Unless your country of residence has a reciprocal arrangement with the UK that entitles you to free medical care, we urge you also to take out medical insurance to cover you during your visit to London.
Morning and afternoon tea and coffee will be provided free of charge by our caterers, Leafi, if you are in the Institute. The Leafi team has worked at The Courtauld Institute of Art and Gallery since 2010 and prides itself on its ‘honest home cooking’, making use of local and seasonal, quality ingredients. We are pleased that lunches at discounted student rates will be available for Summer School students throughout the week.
Provisional course timetable
9.30 Registration and coffee
10.30 Welcome (Director and senior Public Programmes staff)
11.00 Course introductory lecture
12.45 Lunch (not provided; food at subsidised student prices
available all week in The Courtauld Student Café)
16.30-17.15 Gallery talks and general admission to the Gallery until
closure at 18.00
13.00 Lunch (not provided; food at subsidised student prices
available all week in The Courtauld Student Café)
14.00-16.00 Site visits
16.30 Tea (if you are in the Institute)
17.00 Plenary lecture (Fridays only)
18.00 Party (Fridays only)
N.B. Please note that course timings may vary a little; site visits may take place in the morning and trips to locations further afield may last all day.
All teaching at The Courtauld and during Study Tours is conducted in English. A reasonable command of the language is necessary to follow, and contribute to, seminars and visits, and to benefit from written course materials.