Nicola Jennings - The Courtauld Institute of Art

Nicola Jennings

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Dr Nicola Jennings

Associate Lecturer

Nicola Jennings completed a PhD at the Courtauld Institute of Art in early 2015 on The Chapel of Contador Saldaña at Santa Clara de Tordesillas: New Proposals about its Original Appearance and Role in the Fashioning of Identity by an Early Fifteenth-Century Converso.  Nicola did an MA in Early Netherlandish Painting at the Courtauld, has worked at the National Gallery and City University, and is currently Curatorial and Research Associate at Colnaghi in London.

Her principal research interests are converso patronage of art and architecture in fifteenth- and sixteenth-century Spain, Iberian and northern European sculpture and painting from the same period, and Spanish polychrome sculpture from the sixteenth, seventeenth and early eighteenth centuries.

Education

  • PhD, Courtauld Institute of Art
  • MA, Courtauld Institute of Art
  • Diplôme de Recherche, Institut Universitaire d’Etudes du Développement, Geneva
  • BA University of Sussex

Teaching

  • BA1 Topic Course.  The Arts of Spanish Iberia, 1350-1550.   2015-2018.
  • Teaching Assistant, Foundations (Medieval block), Courtauld Institute of Art (Autumn Term 2014)
  • Lecturer, City University, London 2005-2009

Research interests

  • The demand for northern European craftsmanship in fifteenth- and early-sixteenth century Iberia and the impact of this on local production
  • Panel painting in fifteenth-century Castile and northern Europe.
  • Sculpture and decorative stonework in fifteenth-century Castile and northern Europe.
  • The patronage of conversos in fifteenth- and early sixteenth-century Castile.
  • The collections of paintings and tapestry belonging to Isabella of Castile and her courtiers.
  • Sixteenth- to early eighteenth-century Spanish polychrome sculpture.

Recent and forthcoming publications

  • Forthcoming review in the Journal of the British Archaeological Association of Renaissance Gothic by E.M. Kavaler, Yale University Press, 2012.
  • Forthcoming review in Immediations of Baroque Seville. Sacred Art in a Century of Crisis by A. Wunder, Pennsylvania State University Press, 2017.
  • “Made in Iberia: A New Look at the Retable of Contador Saldaña in Santa Clara de Tordesillas,” forthcoming chapter in Netherlandish Art and Luxury Goods in Renaissance Spain, proceedings of conference held in Leuven, February 2016, to be published by Brepols in 2017.
  • “’Middle-Class’ Men who Would be Nobles in Fifteenth-Century Castile, Flanders and Burgundy,” forthcoming chapter co-authored with Ann Adams in Memorializing the Middle Classes in Medieval and Renaissance Europe, ed. A. Leader, Kalamazoo: Medieval Institute Publications.
  • “Imitation, Inspiration or Innovation? Juan de Flandes and the Collection of Paintings of Isabella of Castile,”  forthcoming chapter in Flandes by Substitution: Copies of Flemish Masters in the Hispanic World (1500-1700), proceedings of conference organised by the Royal Institute for Cultural Heritage of Belgium (KIKIRPA), February 2017, to be published by Brepols in March 2018.
  • Converso Patronage, Self-Fashioning, and Late-Gothic Art and Architecture in Fifteenth-Century Castile,” forthcoming chapter in Another Image: Jews and Muslims Made Visible in Christian Iberia and Beyond, Fourteenth to Eighteenth Centuries, eds. B, Franco Llopis & A. Urquízar Herrera, to be published by Brill in 2018.
  • “Identifying the hand involved in a Man of Sorrows produced in the workshop of the Master of Artés,” forthcoming article co-authored with Isidro Puig in book of conference proceedings, Late Gothic Painting in the Crown of Aragon and the Hispanic Kingdoms to be published by Brepols in 2018.
  • Review in Studies in Iconography 38 (2017) of Ferdinandus Dei gracia Rex Aragonum. La efigie de Fernando II el Católico en la iconografía medieval, by M. Serrano Coll, and Effigies Regis Aragonum. La imagen figurativa del rey de Aragón en la Edad Media, by M. Serrano Coll, Saragossa: Institución “Fernando el Católico”, 2014 and 2015.
  • “Spanish Sculpture and the Beginnings of Renaissance Style,” in Alonso Berruguete: Renaissance Sculptor, ed. N. Jennings (London: Colnaghi, 2017), pp. 11-34.
  • “Lorenzo Mercadante: Primus Inter Pares of Northern-European Sculptors in Fifteenth-Century Castile,” in Lorenzo Mercadante. Virgen del Buen Fín, ed. N. Jennings (London: Colnaghi, 2016), pp. 13-44.
  • “The Chapel of Contador Saldaña at Santa Clara de Tordesillas and the Fashioning of a Noble Identity by an Early Fifteenth-Century Converso,” Hispanic Research Journal, vol. 17, 2016.
  • Review in Immediations  vol. 4, no. 1 (2016) of El pintor Joan de Joanes y su entorno familiar. Los Macip a través de las fuentes literarias y la documentación de archivo by I. Puig, X. Company & L. Tolosa, Edicions de la Universitat de Lleida, 2015.
  • Virgin and Child Attributed to the Master of Miraflores,” in Late Medieval Panel Paintings II: Materials, Methods, Meanings, ed. S. Nash (London, Sam Fogg, 2015).
  • Contribution to catalogue entries in S. Nash, Late Medieval Panel Paintings. Materials, Methods, Meanings, London: Sam Fogg, 2011.
  • Catalogue entries in Compton Verney: A Guide to the Collections, Compton Verney: Scala Publishing 2010.

Recent papers

April 2017:  Paper at AAH Conference, University of Loughborough, on “Carrying Christ: Conversion and Control in Late Medieval and Early Modern Spain.”

Other activities

  • Chair, ARTES, Iberian and Latin American Visual Culture Group.
  • Fellow of the Society of Antiquaries of London and member of the Society’s Development Committee
  • Research and Curatorial Associate, Colnaghi, London

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